capturing emotion in motion.

by:Marslite     2019-09-15
A great dance photographer surveyed the art forms he helped perfect.
In the 20 th century, dance photography was no longer a new student in cultural neighborhoods.
Nor is this a major area of effort.
The photographic equipment is bulky and the negatives are glass.
The speed of the lens is very slow.
I think it is safe to say that the earliest photographers of dancers are indeed very determined dance lovers.
By the beginning of 1940, with the advancement of camera design, film and lighting equipment, dance photography has become the three basic categories that exist today.
The oldest is a dance photo taken in a photographer\'s studio.
The second category is stage-making photos with stage sets, and for promotional purposes, showing what\'s going on in the show.
The third category is clothing.
Rehearsal or live broadcast
Performing photography.
Each of these three categories offers special benefits to dance history.
In the 20 th century, Russian ballet stars traveled abroad, American dancer Ruth St.
Dennis, Ted Sean and isdora Duncan are on tour.
To meet the needs of dramatic dance photography, white, Ella Hill and Herman Mishkin Studios opened in New York City.
They created the American image of Russian superstar Anna Pavlova. Mishkin\'s full-
In my opinion, Pavlova\'s solo portrait of the character in Dragonfly is the iconic image of the legendary dancer.
In Europe, some great dance photography was created by the French.
Baron Adolfo de Meyer (1868-1946)
German E. O. Hoppe (1878-1972)
Arnold Ghent (1869-1942).
De Meyer shooting Saint
Dennis was 1912 early;
He took pictures of Carnaval in 1911 of the famous Vaslav nikinski, and L\'Apres-in the 1914 series-
Midi d\'un Faune displays Nijinsky with the female ensemble.
Dempe filmed Tamara Karsavina in 1910 and Margot Fonteyn in 1935.
He also filmed Sean and Martha Graham in 1921.
Genthe filmed Pavlova in 1914 and 1915.
In 1916, he published a photo called the book of dance, and in 1929, Isadora Duncan: 20-four Studies.
Early twenty century
Portrait of Pavlova, Casa Vina, nikinsky, Duncan, San century studio
Dennis and Sean revealed a lot about each dancer. -
Except how they move.
The completely immobile pose was taken using the light coming in from the skylight.
Because the dancers were asked to stay still for about 20 seconds, the wires and gadgets were used when they had to pose in the Arabian style and were later modified.
The technology of studio dance photography continued until the beginning of 1940, when Chicago photographer Maurice Seymour (
Later in New York City)
Always turn the soft appearance into a charming appearance.
He distilled the best and most flattering effects of stage lighting by using high spotlights to illuminate the arms and upper body and cross the spotlights on the legs to make them look longer, what Mour does for dancers, like what Hollywood portrait painter George Hurrell does for Jean Harlow, Joan Crawford, Greta Garbo, Clark Gable and other bigger dancersthan-Life movie star.
Once they see it, who will forget the fascinating whole of Seymour
Ballet dancer Alexandra Danilova\'s portrait in the second act costume of Swan Lake?
It was filmed for the ballet, Monte Carlo Russia, where Danilova ruled until 1957.
Despite his main production of fashion portraits, George Pratt Raines has filmed many dancers at the studios of the Manhattan Ballet and the New York City Ballet.
Laines, a close friend of barranchin, took two memorable photos of Orpheus in 1948.
The first use of Mafia wealth managers, Tanaquil Le Clercq, Francisco Moncion and Nicholas Magallanes.
The second one used male dancers, all naked except for stage masks and props.
My favorite Lynes photo shows Balanchine and a group of young dancers, including 11-year-old dancersyear-
Old Edward virala
When Lynes did special photography for NYCB, Walter E.
Owen is busy doing studio news photography for the company. fifties.
Because his studio is near the city center, dancers will come directly to him after the show and still wear clothes. (
I remember he showed me some pictures of Nora Kayi in the cage. )
From 1950 to 1995, when I was working in a studio in New York City, 165 dance magazine covers were made for the American Ballet Theatre, along with many New York Times dance pictures and souvenir book pictures, two other photographers-
Martha Swope and Kenn Duncan (1930-86)--
Outstanding Studio portraits were also taken.
The two were performers before they picked up the camera.
Swope hung up her toe shoes and started working closely with her mentor Balanchine in her 1950 s to shoot the highlights of Balanchine dancers during a particularly creative and prolific period of choreography(
Swope also produced famous photos of Balanchine playing with his famous jumping cat Mourka, and later became the theme of Le Clercq\'s 1964 children\'s book, using Swope\'s photos)
Duncan was a skater before becoming a fashion photographer assistant, later took over the studio and entered the dance photography field in the late 1960 s.
Most of the photographer\'s work was done for \"After Dark\" and \"dance\" magazines as well as private clients.
Max Waldman\'s dramatic, dark and rough studio photos popped up on the dance stage in New York City in his 1970 s, continuing to create stunning works until his death in 1981.
His work is particularly effective in the form of a poster.
Waldman filmed most of the dance stars of the period;
His image of Judith Jamison in Alvin Ellie\'s cry is her final image in this role.
In London, from the age of 60 to today, prolific and dedicated dance photographer Anthony Crickmay has created a large number of works in his spacious studio.
His modern dance works are spectacular, the lights are clear, the stage lights are clear, and there is a lot of space around the dancers.
I especially remember the photos he took at the London Contemporary Dance Theater under the leadership of American director Robert Cohan.
In Paris, American photographer Peter Perazio began dancing photography in his 80 s.
French magazine Danser, who often uses his photography as a cover, has made several cover and layout of dance magazines featuring major dance companies in Paris and the region.
I predict that in the early days of the coming century, a studio dance photographer will make the biggest contribution to American dance photography, Steven Callas, a former NYCB dancer.
His work is excellent in technology, with a soul and a love for dance.
His headquarters in Palm Beach, Florida, is far from the hype in New York City, where he is filming wonderful dancers at America\'s best regional dance company.
His 1999 Dance Magazine mini calendar won a gold medal in glamour photography from the national calendar Association.
With the spread of dance in the United States, Karas should be the right target.
Fashion photographers in most studios have a talent for dance photography.
In the second half of the century, fashion magazines featured dance portraits of major artists such as Richard Evedon, Owen Payne, Cecil Beaton.
The image that comes to mind right away is Evedon who plays Billy\'s John in Eugene Lolin\'s \"Billy\'s children\" and his Russian ballerina Maya plesskaya series ·
Penn\'s whimsical portrait of 1979 Merrill Lynch Ashley smiling on the tip of the foot, placing his palm flat on the floor;
As well as all the gorgeous dance portraits of famous designer and photographer Beaton.
Making photography for a dance company may produce a company\'s most valuable marketing tool.
The photos were made while taking pictures showing the stage layout and the costume dancers in action.
Due to the high cost of stage hands, work dues, and wardrobe and dance fees, photo calls are rare today, but can still be carried out at times, although few in New York City.
The new university stage offers some opportunities for this work.
The late Barbara Morgan, with a series of stage photos from her Martha Graham Dance Company, created a history of dance photography in the 1940 s.
Morgan created her own lights with multiple flash lights, and her final photo of Graham\'s early masterpiece recorded the Graham repertoire of the great dancer --
Choreographer at her peak-
This is a real watershed.
In 1965, my approach to shooting dance on stage changed forever as I witnessed Life magazine\'s Gjon Mili filming Harald Lander\'s La Sylphide stage at the New York State Theater
Use multiple, high
Fast electronic flash device, Mili filmed the man making a barrel turn around the big pot in March (
Rosanna Seravalli)
When Tony Rand jumped at silff and snatched a wedding ring from a confused James (Fernandez).
Slightly twisted width
The angle lens was used for the whole shot.
After that, I no longer work under the preset stage lights.
I created the lighting with my electronic flash device if possible.
When this turns out to be impractical, I ask the stage manager to rebalance the stage lighting and provide some \"floating\" lights on long ropes where I can place extra lighting.
My first major e-photography on stage was Paul Taylor Dance\'s 1966 series at Orbs.
I continued to shoot many films, and in my early 80 s and 90 s I met each year on stage with Alvin Ellie American Dance Theater.
Studio photographers accustomed to using artificial light can easily adapt this ability to making pictures.
Although Swope was mainly determined by her cooperation with NYCB, she made a stage-making picture for ABT.
Hurrell and Semour are essentially studio photographers who make final photo of their work for ABT of \"Fancy Free\" by Jerome Robyn in his 40 s.
Prior to World War II, with the advent and popularity of premium 35mm cameras and fairly fast lenses, performing photography for actual dance performances became feasible.
In 50 years, our equipment has developed into a mobile, automatic focus, automatic
Exposure miracle with zoom lens and extremely fast film.
No concessions have been made to help the photographer, who is basically recording a show-
If the ballet is not synchronized, who will be criticized when he grabs the lead dancer in a perfect posture.
From 1940 to the beginning of 1990, Fred Feiler led acting photography in dance and Broadway shows in New York City. The tall, soft-
Fehl, who speaks well, uses his unobtrusive Leica camera for a dance show, a cultural fixture.
He filmed many important and memorable ballet performances, but for me his most historic scene was Giselle at ABT at the old Metropolitan Opera House in the spring of 1955.
The cast stars Gisele and young Dane Eric Bruen, and the veteran ballerina Alicia marcova makes his debut as albreech.
The show quickly made Brunn a ballet star, and Phil got it all in the movie.
Anyone who has a copy of Giselle\'s old LP recording is lucky to have a major storyboard --
Fehl\'s style layout of Markova and Bruhn photos on the cover starts in the medium term
1950 s, Swope became the official photographer for NYCB, and later became a familiar sight at the top of the first ring at the New York State Theater.
She cleverly recorded the emergence of the troupe as a world.
The first-class company and Suzanne Farrell have blossomed as a career result of the balancin muse.
Her 1965 acting photography of \"tangjikode\", with Farrell as danniya and balancin as \"tangjikode\", is the best work of visual history
Herbert migdor, who has long been a designer of dance magazines, is also a well-known photographer, who is probably the most famous for his creative acting photography of the javerley ballet and many New York City --
Modern Dance Company.
The Migdoll image I can never forget is a color photo of Martha Graham at the beginning of 1960 while moving on stage, leaving a bright color blur on the whole picture.
It is beautiful and evil, and embodies most of Graham\'s characters.
Migdoll is the first photographer I can remember to successfully capture photos of a colorful dance show.
Late Peter Moore1932-93)
By recording the post-modern Jason church dancers from 1960 to 1970, it has also made a noble contribution to the history of dance.
Dancers Yvonne Reina and Steve Parkston are the main members of the group.
In the senior dance performance photographer who reported the event since the 1980 s-
And, I hope, will continue to do 2000--
Mira, Jack vadogian, batriz Schiller (Myra Armstrong)
Tom, caravalia, Elbers, Kostas, nanmelville, Marty Sol, and Paul colnick, Brazil.
Kolnik is the only photographer I know who uses the camera in \"blimp (
Case with sound insulation)
Perform without disturbing the audience.
This is a personal overview of two people-
A century dance photography that has been involved for about 50 years.
In addition to the photographers mentioned earlier, there are many others who have made significant contributions to the art and history of dance photography in the past century.
There are art, fashion, business photographers and photographers.
The work of the following photographers has been praised from around 1925 up to now: James Abe, Carl Van wichten, James Van del Ze, Edwin F. Sue
Townsend, August Sander, Man Ray, imogan Cunningham, Edward Weston, Edward stiken, George Huningen-
Huene, Ilse Bing, brasai, Serge Lido, John lindst, Paul simmer, Herb frato, Zakary Freman, radford Andrei ketters, Bert Stern, Baron, Nicklas Murray, Alfredo Valentine, Robert mcpulthorpe, Arthur elguport, Royce Greenfield, Howard shates and David Cooper.
Dance photography has made great progress in the 20 th century.
Dance photography in the 20 th century
There will be greater development in the first century.
There are more excellent dance companies around the world, more accomplished dancers around the world, and more photographers interested in dance photography.
Coupled with the technological development of the camera and the continuous development of digital photography, the future of dance photography does seem very bright.
Jack Mitchell, a longtime contributor to Dance Magazine, is in his 1998 book \"Idol and Idol: The artistic chronicles of photographers\" (1960-1995 (Amphoto Art).
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