Home / Photographers / -By Location / New York: Albin, Boris, Bruguiere, Chidnoff, Kahle, Lumiere_vlad [291]

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New York: Albin, Boris, Bruguiere, Chidnoff, Kahle, Lumiere    Nov 19, '09 2:19 AM
by Vlad for group historicalziegfeldgroup #168  (upd. 11-27)

Charles Albin
Time Period: 1910-1929
Location: Fifth Avenue, Manhattan
“For a painter-photographer, Charles Albin was singularly intent on maintaining the distinct qualities of the genres. He favored fidelity in portraiture and the mechanical approximation of natural lighting. An ardent student of cinematic techniques, even when he worked as a portraitist, he regularly corresponded with the NEW YORK TIMES critics of motion pictures, calling attention to fine work by cinematographers. His July 17, 1921 remarks on the photography of Rex Ingram's 'The Conquering Power' is telling about Albin's aesthetic values: 'Without resort to the idiotic fuzziness, whereby many a fool director or cameraman imagines that he produces an 'artistic shot,' this cameraman has achieved a most beautiful waxiness, if I may use the word, never sacrificing essential sharpness. In his interiors he has produced masterpieces of lighting, pure and simple. He has subordinated background detail, emphasized his main groups, within blazing halos of sunshine 'through the ceiling' (back lighting.) For one thing he has made the light appear to enter the rooms from the windows, as it should. And he has had the courage to insist on uttermost simplicity, a true stroke of genius.'”
© David S. Shields
http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=77


M. I. Boris [Boris Majdrakoff]
Time Period: 1923-1962
Location: 697 Fifth Avenue
“An adherent of Jungenstil, the proto-modernist aesthetic that reigned in Austria before the War, Boris developed a mode of portrait photography with sinuous profiles and backgrounds aswirl with quasi-abstract graphic patterning. He brought the style to New York in 1923. His pictures bear strong affinities with those of Orval Hixon, Homer K. Peyton, and William Mortensen in the aggressive manipulation of the negative and the concern with creating a synthetic image of great allure. His vintage prints of the 1920s are among the rarest and most visually arresting of the portraitists of the inter-war years.”
© David S. Shields
http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=19


Francis Bruguiere
Time Period: 1900-1945
Location: 16 West 49th Street
“His earliest photographs bear the hallmarks of pictorialist style: the idealization of scenes by soft focus, manipulation of the negative to perfect the beauty of portraits, an interest in exotic portrayals of dancers, plein air nudes. Throughout the 1920s he photographs moved from pictorialist mystification to modernist abstraction. He was particularly interested in double exposure, montage, and, later in the decade, the production of abstract constructivist images made of geometric patterns of light.The final years of his life in London, Bruguiere, devoted to ceaseless experimentation in multiple exposure montage prints of persons and places, stylist modernist advertising imagery, abstract short films examining the play of light on cut paper forms, and solarized figure studies in the style of Man Ray. During World War II he turned aside from photography and resumed painting. He died shortly after the armistice.”
© David S. Shields
http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=59


Irving Chidnoff
Time Period: 1925-1948
Location: 550 Fifth Ave., New York City
“Early in June 1931, Irving Chidnoff engaged in a widely published debate with John Held and Rolf Armstrong on the visual character of beauty in women. While Held and Armstrong championed the ideals of photogenic glamour as projected by Hollywood and embodied in the images of Greta Garbo and Evelyn Brent, Chidnoff demurred: 'An exquisite face and a perfect figure mean nothing at all to me, if the spark of personality is lacking.' He confessed that he sought in a sitter a soul more than an image-'the brain which shines through the eyes and the character that is revealed by the poise of the head.' Chidnoff's emphasis on the face and head in this declaration is mirrored in his photographic works. No one, not even Herbert Mitchell, exposed so many close-up portraits over the course of his lifetime. Even his fashion photography featured waist up apparel and hats. (The few full body representations in Chidnoff's oeuvre tend to be dancers.) His great success as a Society photographer derived from an ability to capture something in a sitter that he or she recognized as a truth. There was never much artistic manipulation of the negative. There was no expressionist experiment with shadow. There was little self-conscious stylization, and no modernist angles or abstraction. Instead, there was a human palpability to the portraits that made them seem something other than stars or big shots. After the Depression this plain style humanism seemed somehow an appropriately 'realistic' approach.”
© David S. Shields
http://broadway.cas.sc.edu/index.php?action=photographers


Alexander Kahle
Time Period: 1920-1930 (?)
Location: New York

Samuel Lumiere
Time Period: 1910-1930
Location: 140 W. 45th St., 574 Fifth Avenue, NYC
“Lumiere Studio was exclusively concerned with portraiture. It did society work, theatrical photography, and film publicity in the later 1910s for New York studios. He rarely produced prints in larger formats, but was a master of the 8x10 "fancy shot." He used soft focus lenses on female sitters and was a master retoucher who could make an image blemish-free and other-worldly in its surface beauty. Lumiere had an improvisational streak and would occasionally do humorous photo suites with Showgirls from the revues. His signature often had a copyright sign with rays; this iconic sun punned his name.”
© David S. Shields
http://broadway.cas.sc.edu/index.php?action=showPhotographer&id=29


National Studios
Time Period: 1910-1920 (?)
Location: New York
“was a studio that was organized exclusively for servicing the needs of NY and NJ-based motion picture studios' needs for portrait photography. Only Paramount in NY had its own on-staff portrait photographer from 1919-1925.” ©

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