Capturing Moments: The Magic Behind the Lens #33

This marks the 33rd episode of the digital series by Peter Fetterman Gallery entitled the Power of Photography, celebrating hope, tranquility, and love globally. We encourage you to appreciate and contemplate these pieces during this period.

 

Andre Kertész 1894-1985
Stairs at Montmartre, Paris, 1926
Signed in pencil on the front
Gelatin silver print
Image/Paper: 3″ x 3-3/4″, Mount: 12″ x 9″, Mat 20″ x 16″
(#969)

“The moment always dictates in my work. Everybody can look, but they don’t necessarily see. I see a situation and I know that it’s right” ~ André Kertész (1894-1985)

André was an innovator, a modernist. His works are persistently serene and understated, vastly contrasting the “in your face” approach of most modern photography. This print is a small treasure. I often display it on a little table easel on my desk, gazing at it whenever I seek a whimsical diversion. He intentionally leaves the central space vacant, instead manipulating light and shadow to develop a perspective that renders the image incredibly refreshing and distinctive. As his compatriot and dear friend Brassai observed, “André Kertész possesses two crucial traits that define a great photographer: an insatiable curiosity about the world, about people, and about life, along with a precise sense of form.”

 

Horst P. Horst 1906-1999
Round the Clock, N.Y., 1987
Signed, titled, & dated in pencil on the reverse; Embossed with the artist’s signature on the front
Gelatin Silver Print
Paper 14 x 11 inches; Image 12 x 9 3/4 inches
(#906)

“He infused a piece of himself into every photograph. He was modest, extremely quiet, very compassionate. It was as if he couldn’t comprehend or connect with the fact that he held a significant position in fashion and photographic history” ~ Carol Alt (Model)

At 79 years old, Horst captured this photograph, an age when many would consider slowing down or possibly even beginning to lose some of their creative drive. But not Horst. He was engaged to shoot an advertising campaign for “Round The Clock Hosiery.” What he produced stands as one of the remarkable images of his extensive and illustrious career.

This photograph brings to mind his iconic fashion images from the 1930s, characterized by deep shadows and vivid highlights, with sources of light originating from the side rather than from above. It also seems to nod to his early fascination with surrealism, as the cropped and disembodied figure appears torso-less, emerging solely from the voluminous net petticoat.
This work could easily be seen as fresh from the lens of a young, “hot,” prodigious fashion photographer instead of being created by an “old master” whose skill and artistry never waned.

 

Elliott Erwitt
Douglas, Wyoming. 1954. ‘Boy in cowboy hat & collie’
Signed in ink on the front
Gelatin silver print
20 x 16″ sheet; 17.5 x 12″ image
(#970)

“To me, photography is an art of observation. It’s about discovering something captivating in a mundane location. I’ve found that it concerns little with the things you observe and everything with the perspective you hold” ~ Elliott Erwitt

Gentleness is not something frequently encountered in Contemporary Art and Photography. Much of it, in my perspective, seems to be intentionally crafted to “shock” and “confront” the onlooker. That’s just not for me, I’m afraid. Elliott’s creations are profoundly human and heartfelt — and dare I use that somewhat outdated term.. beautiful. That suits me just fine. I delight in lingering with his visuals, revisiting them time and again, including this rarely seen “gem.”

 

Steve McCurry 1950
Men Playing Chess, India, 1996
Signed and numbered in ink on the reverse
Digital C-Print on Fuji Crystal Paper
30 x 40 inches
Edition 3 of 15
(#965)

“I’m primarily drawn to people and human behavior – how individuals relate to one another and their surroundings.” ~ Steve McCurry

This image epitomizes Steve’s remarkable sensitivity to color. Set in India, the backdrop of many of his exquisite images, we observe the striking red garments of the subjects against the azure walls of their environment. One cannot help but ponder their chess game and the woman moving past. What a visual treat.

 

Jeffrey Conley 1969
Figure in Vast Landscape, Iceland, 2018 (Printed 2023)
Signed and numbered in pencil on the front. Stamped, titled, dated, and numbered on the reverse.
Platinum/Palladium Print
Image – 11″x14″, Matted – 20″x22″
Edition 5 of 10
(#963)

“I perceive being out in the landscape as a moment to gather observations – then in the darkroom is where those observations articulate their voice and find their physical representation as a platinum/palladium print.” ~ Jeffrey Conley

Jeff is incredibly motivating. He presents us with a stunning image like this one, which is a remarkable accomplishment in its own right. Then he steps into the darkroom and dedicates himself to creating a beautiful platinum/palladium print. A delicate and intricate endeavor. He truly can excel at everything.

 

Ruth Bernhard 1905-2006
Spanish Dancer, 1971
Signed in pencil on the front; signed, titled & dated in pencil with the photographer’s copyright stamp on the back
Selenium-toned gelatin silver print
11 x 14 inches
(#953)

“I strive to be cognizant of light at all times. I’m perpetually attentive to it. I’m not observing light because I am a photographer; I am a photographer because I am profoundly engaged with light” ~ Ruth Bernhard

“I firmly believe in and make no apologies for photography. It is the most significant graphic medium of our era. It should not be compared to painting, as it has distinct means and objectives” ~ Edward Weston

Ruth encountered Edward Weston serendipitously while strolling along Santa Monica Beach in the 1930s. His commitment to his craft and the simplicity of his existence profoundly influenced her and remained with her throughout her extensive and fruitful career. She frequently expressed, “I have experienced many loves in my life, but I have never had a person in my life whom I loved more than Edward Weston.” She discovered her own voice and produced a remarkable collection of sensual female nudes unmatched by anyone.

 

Henri Cartier-Bresson 1908-2004
Ile de la Cite, Paris, 1952, printed later
Signed in ink on the front
Gelatin Silver Print
Paper 12 x 16 inches; Image 9 1/2 x 14 inches
(#961)

“A photograph is neither taken nor seized by force. It reveals itself. The photograph captures you; one must not take photographs” ~ Henri Cartier-Bresson

Paris was Henri’s very essence. He thoroughly understood every nook and cranny and every sigh the city ever released throughout his lengthy and exceptional photographic journey. I often tell anyone entering my gallery that without his influence, I wouldn’t be here. Strolling with his handheld Leica, he stumbled upon a familiar scene, one he had encountered countless times before, as many of us have. But this particular day felt different. He must have been reflecting on his early training as a painter, leading him to create something truly ethereal. It seems almost non-photographic. Likea charcoal illustration. Sheer enchantment.

 

Yousuf Karsh 1908-2002
Albert Einstein, 1948, printed subsequently
Mounted on archival board. Inscribed in ink on recto.
Gelatin Silver Print
19 x 21 inches
(#947)

“At Princeton’s Institute for Advanced Study, I encountered Einstein, a straightforward, benevolent, nearly innocent individual, far beyond the ostentation of greatness. One did not need to comprehend his science to sense the vigor of his intellect or the impact of his character. He spoke with melancholy yet sincerity as one who had gazed into the cosmos, well beyond humanity’s minor concerns. When I queried him about the potential repercussions of another atomic bomb being unleashed, he replied wearily, “Alas we will no longer be able to hear the melodies of Mozart.” ~ Yousuf Karsh

“Learn from yesterday, live for today, hope for tomorrow. The significant thing is not to cease questioning.” ~ Albert Einstein

Undoubtedly the most remarkable portrait ever captured of one of the most brilliant minds of the 20th century.
In image after image, I remain perpetually impressed by Karsh’s unwavering talent. He has encapsulated the very essence of the spirit of each subject positioned before his camera. He never appeared to miss a beat or encounter an off day. He possessed an extraordinary insight into what motivates a person and the technical prowess and delicate nuance to connect us to them.

 

Cig Harvey
Claire in the Forsythia, Rockport, Maine, 2010
Signed, titled, and dated in ink on photographer’s label; Inscribed in ink on verso
Archival pigment print
Image 14″ x 14″, Paper 21″ x 17″, Matted 30″ x 24″
Edition 4 of 10
(#849)

How to Force Blooms 1. Vocalize your longing for spring. 2. Locate branches brimming with buds. 3. Trim the stems at an angle. 4. Arrange in warm water. 5. Refresh the water each day. 6. Position in indirect sunlight throughout your home. 7. Wait. Caution — Forcing forsythia may induce a fleeting aversion to violet, its counterpart on the color spectrum. ~ Cig Harvey

Today we present you a technique for enduring winter – and a splendid floral vision, seen through the perspective of British Artist Cig Harvey. In her own words, “The transient nature of flowers serves as a perfect symbol for the human experience, what it is to feel. My images frequently feature flowers, yet they are not merely about flowers; they are about existence and cessation. Seeking out and revealing beauty to share it with others is a political action. The encounter I wish for the viewer to have with this collection of photographs mirrors the feeling I experience upon discovering the images—a sensation in the body, a witness to something exceptional in an ordinary world. Experience this. Feel this. They invite you to immerse yourself in the natural world and to find and celebrate beauty in the mundane.”

 

Pentti Sammallahti 1950
Paris, France (Tree, Bridge & Birds), 2011
Gelatin silver print
10 x 8 inches. Image size 9 x 6 1/4 inches. Signed & dated in pencil on recto.
(#779)

“The most vital element is luck; behind every good image, there is also good fortune.” ~ Pentti Sammallahti

Pentti may possess more good fortune than most. Every image exudes an air of chance. How fortunate he was on that day to capture this harmony of nature and the city at ease. A ambiance on the banks of the Seine in Paris.

 

Sebastião Salgado
Workers Struggling to Remove Bolts, Oil Wells, Kuwait, 1987
Signed in pencil on recto
Signed, titled, and dated in pencil on verso
Gelatin Silver Print
Image 13 1/4″x16 1/2″, Paper 16×20″, Matted 20×24″
(#429)

“Photography is vastly more than merely taking images – it is a lifestyle, what you sense, what you aspire to convey, your beliefs and your morals. It is a language that enables you to navigate across the currents of history.” ~ Sebastião Salgado

I don’t know anyone who has traversed as many waves of history as Sebastião. He is an undeniable force of nature, as is his spouse Lélia. Together, they have exposed scenarios that we may not have voluntarily chosen to face, awakening us to the reality we inhabit and the challenges we must confront and discuss. His Kuwait series exemplifies such a body of work that, once seen, can never be overlooked.

 

Peter Fetterman Gallery
2525 Michigan Ave, #A1
Santa Monica, CA 90404

 

The Power of Photography is now a volume published by ACC ART Books.

Peter Fetterman : The Power of Photography
ACC ART Books
Pages: 256 pages
Size: 7.87 in x 9.06 in
ISBN: 9781788841221
$45.00

https://www.accartbooks.com/us/book/the-power-of-photography/
www.accartbooks.com