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Eugene Atget Photography Technique

Interested in photography? At kaitphotography.com.au you will find all the information about Eugene Atget Photography Technique and much more about photography.


Atget’s technique - Art Gallery of NSW | Art Gallery of NSW

    https://www.artgallery.nsw.gov.au/education/exhibition-kits/eugene-atget/technique/#:~:text=Atget%20made%20all%20of%20his%20own%20photographic%20prints,then%20washed%2C%20gold%20toned%2C%20fixed%20and%20washed%20again.
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Atget’s technique - Art Gallery of NSW | Art Gallery of NSW

    https://www.artgallery.nsw.gov.au/education/exhibition-kits/eugene-atget/technique/
    Atget’s technique. Eugène Atget The former Collège de Chanac, 12 rue de Bièvre, 5th arrondissement August 1900, albumen photograph © Musée Carnavalet, Paris/Roger-Viollet/TopFoto. Atget used a view camera with a bellows placed on a tripod, typical of the second half of the 19th century. He worked with 18 × 24 cm negative glass plates, oriented to obtain …

Eugène Atget Photography, Bio, Ideas | TheArtStory

    https://www.theartstory.org/artist/atget-eugene/
    Atget captures the quality of metal-smithing put into this doorknocker through the details of its wavy mane, furrowed eyebrows, and the careful pattern of the …

Eugène Atget | International Center of Photography

    https://www.icp.org/browse/archive/constituents/eug%C3%A8ne-atget
    Eugène Atget was a French photographer best known for his photographs of the architecture and streets of Paris. He took up photography in the late 1880s …

Eugène Atget | Photography and Biography

    https://www.famousphotographers.net/eugene-atget
    Eugène Atget was a French saunterer and the founder of documentary photographic technique. It was his fortitude to document the entire architectural landscape and street views of Paris prior to its transformation to modernism.

On Photography: Eugène Atget, 1857-1927 - Photofocus

    https://photofocus.com/inspiration/on-photography-eugene-atget-1857-1927/
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6 Lessons Eugene Atget Has Taught Me About Street …

    https://erickimphotography.com/blog/2013/09/30/6-lessons-eugene-atget-has-taught-me-about-street-photography/
    However imagine what Atget did. He looked at these everyday ordinary objects with fascination and curiosity. He took his massive 8×10 camera, carefully extended the tripod legs, turned his camera to his subject, focused, calculated the aperture and shutter speed, put himself under the black cloth, held his breath, and took a photograph.

Eugène Atget | French photographer | Britannica

    https://www.britannica.com/biography/Eugene-Atget
    Eugène Atget, in full Jean-Eugène-Auguste Atget, (born February 12, 1857, Libourne, near Bordeaux, France—died August 4, 1927, Paris), French commercial photographer who specialized in photographing the architecture and associated arts of Paris and its environs at the turn of the 20th century. Very few biographical facts are known about Atget.

Eugène Atget - 26 artworks - photography - WikiArt

    https://www.wikiart.org/en/eugene-atget
    Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields. Atget photographed Paris with a large-format wooden bellows camera with a rapid rectilinear lens, an instrument that was fairly current when he took it up, but which he continued to use even when hand-held and more …

Eugene Atget - Photography

    https://photoeducation.weebly.com/eugene-atget.html
    Atget was an artist with a highly developed sense of pictorial logic. To experience an Atget photograph is to undergo an adventure in seeing. "It is the photographer's business to see," said H.P. Robinson in 1869. No one saw better than Atget. The real consequence of his art, however, is in the cumulative effect of the entire body of work.

Masters of Photography: Eugene Atget

    http://masters-of-photography.com/A/atget/atget_articles3.html
    Atget's technique, which depended upon the transparency of the glass negative and the clarity of the albumen print, emphasized sharply defined surface information and would seem, therefore, to be at odds with the theory of sacrifices practiced by the photographers of the early 1850s.

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