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About Photography / Artist Premium Member Batsceba Hardy, writer and photographerFemale/Germany Groups :iconprogressive-street: Progressive-Street
 
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Batsceba:iconbatsceba:
i am sad
Mon Jun 16, 2014, 5:42 AM
Batsceba:iconbatsceba:
Tell me your happy ending story Tell me your happy ending story Tell me your happy ending story Tell me your happy ending story
Sat Nov 2, 2013, 4:01 PM
Batsceba:iconbatsceba:
Ich bin eine perfekte Sekretärin :P
Mon Jul 29, 2013, 6:10 AM
Batsceba:iconbatsceba:
the self-estrangement proper to the man of the future (today) has created a new 'division of classes': the violent ones (attached to the matter) and lost ones (attached to the soul). the porn-sexual frenzy is a 'liberating' form of violence.
Wed Jul 10, 2013, 12:29 PM
wingsofdragons:iconwingsofdragons:
have a awesome tomorrow :rose:
Mon Jul 1, 2013, 4:17 PM
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Batsceba
Batsceba Hardy, writer and photographer
Artist | Photography
Germany
walk on
Current mood: lonely
Category: Life

'Cause I'm not a real street photographer: yesterday, as I was waiting for someone, with my nikon hanging around my neck, I started to take a look around. And that's how I got it. I'm a photographer of the wait. I don't look for shots. I find them in the pauses. That's why I love to take pictures in the subway, in bars: because I wait for the right shot, I don't look for it. All in all, it perfectly fits with my being. I'm motionless, it's life that changes my colour, my age. -Batsceba Hardy

perché non sono una vera fotografa di strada: ieri, aspettando una persona, con la mia nikon al collo, ho cominciato a guardarmi attorno. ed è così che ho capito. io sono una fotografa dell'attesa. non cerco gli scatti. li trovo nelle pause. per questo amo fotografare nella metropolitana, nei bar: perché aspetto lo scatto, non lo cerco. ma in fondo combacia perfettamente con il mio essere. io sono immobile, è la vita che mi trasforma, colora, invecchia. - Batsceba Hardy

soundtrack: www.youtube.com/watch?v=iucRHs…

I've stopped thinking. and i'm dumb waiting for the Great Mystery hug. I've been looking for it wandering about the streets in a city that doesn't belong to me, I've been looking for it letting water drop on me to shut my pain up. yet i've just met the other's rage and i've been annihilated. like i was annihilated as a child before someone raising their voice, a slap in the face i didn't understand. i'm not cut out for life. i don't have nails. i always expect understanding, explanations, love. but i can't change. and i'll keep on roaming with my disability to live, listening to the distant echo of the Great Mystery which will ease my pain. i don't know how to live but i know how to love. and i'll keep on walking trying not to to tread on the ant crossing my path.




justsitback.deviantart.com/?rs…

Current Residence: Berlin
Favourite genre of music: all
Favourite photographer: Ansel Adams, Urs Lüthi, Yuri Bonder. Man Ray ... ...
Favourite style of art: surrealism, all
Operating System: Mac
MP3 player of choice: none
Favourite cartoon character: Corto Maltese
Personal Quote: peace and love
Interests
Progressive Saturday Night -    


soundtrack:    youtu.be/FECFb1_YdII     youtu.be/Fa9n7GirhsI

A  selection of the latest photos of street gallery: crazy
Nana, look what I have and you dont! have a nice weekend  Huggle!
and, please, remember to visit the photographers' galleries as well ;) (Wink)


always me :iconbatsceba:  Nana, look what I have and you dont!  
Please enjoy


:icondimakosmos: The woman with the coolest helmet throughout Thail by dimakosmos


:iconxbastex: Watching you by xbastex


:iconjeanemarre: Untitled by jeanEmarre


:iconlightdrafter: fake up by lightdrafter


:iconwaitingforlefty: Street Scene by waitingforlefty


:iconjonniedee: I'm Just Tryin To Get Drunk by jonniedee

:iconmarx77: Glance by MARX77
I have only collected information... food for thought...

Street photography is a type of documentary photography that features subjects in candid situations within public places such as streets, parks, beaches, malls, political conventions, and other settings. Street photography uses the techniques of straight photography in that it shows a pure vision of something, like holding up a mirror to society. Street photography often tends to be ironic and can be distanced from its subject matter, and often concentrates on a single human moment, caught at a decisive or poignant moment.  Naomi Rosenblum


"Pure photography or straight photography refers to photography that attempts to depict a scene as realistically and objectively as permitted by the medium, renouncing the use of manipulation. The West Coast Photographic Movement is best known for the use of this style.
Founded in 1932, Group f/64 who championed purist photography, had this to say:
Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form.
The term emerged in the 1880s to mean simply an unmanipulated photographic print, in opposition to the composite prints of Henry Peach Robinson or the soft focus painterly images of some pictorialist photographers. At first, straight photography was a viable choice within pictorialism, as, for example, the work of Henry Frederick Evans. Paul Strand's 1917 characterization of his work as "absolute unqualified objectivity" described a change in the meaning of the term. It came to imply a specific aesthetic typified by higher contrast, sharper focus, aversion to cropping, and emphasis on the underlying abstract geometric structure of subjects. Some photographers began to identify these formal elements as a language for translating metaphysical or spiritual dimensions into visual terms.
This aesthetic caught on in the early 1930s and found its most notable use in what came to be known as The West Coast Photographic Movement. Photographic superstars including Ansel Adams, Edward Weston his son Brett Weston, Dody Weston Thompson and Berenice Abbott are considered innovators and practitioners of this style. Many other well known artists of this time considered themselves practitioners of this West Coast counterculture and even formed a group known as Group f/64 to highlight their efforts and set themselves apart from the East Coast pictorialism movement.
This emphasis on the unmanipulated silver print dominated modernist photographic aesthetics into the 1970s. Its also a type of picture that has no side effect but tell the truth in gerenal."


Group f/64
was organized in 1932 by Ansel Adams, Edward Weston, Willard Van Dyke, Imogen Cunningham, and others, to promote "straight" photography. The group was in response to the "artistic," soft-focus, pictorial type of photography which was popular at the time. Emphasis was placed on "pure" photography, sharp images, maximum depth-of-field, smooth glossy printing paper, emphasizing the unique qualities of the photographic process. The significance of the name lies in the fact that f/64 is the smallest aperture on the lens of a large-format camera and therefore provides the greatest depth-of-field.
The manifesto is of historical interest in the midst of the controversy over the addition of non-photographic techniques to traditional photography.


Group f/64 Manifesto

The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are striving to define photography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the "Pictorialist," on the other hand, indicates a devotion to principles of art which are directly related to painting and the graphic arts.
The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.
The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.



________________________________________________________________________________________________________________________________
rossfcollins.areavoices.com/20…

Dr. Dan Druckermann, post-cyber historian of the 22nd century, fancied himself a bit of a photo historian. But he faced a difficult task, because the primary sources had become rare and precious.
As Dr. Dan often explained to his media history students, photographers jumped into digital imaging technology at about the start of the new millennium. Everyone threw out their old film-based cameras, as the chemical methods that made photography possible for 150 years became obsolete. By about 2011, nearly all photographs were digital images saved to computers. Dr. Dan also had a box of plastic disks called “CDs,” but the technology to read them was long dead. His wife threw out most, repurposed the rest as coasters.
What his ancestors from 2011 didn’t know was that digital imaging turned out to have little archival permanence. The files became corrupted. The digital prints invariably were in color; as it turned out, the ink-jet technology of the time could not match the longevity of chemical-based black-and-white paper. Images faded or disintegrated.
By 2111 researchers could call up thousands of black-and-white pictures of America in 1900. But Dr. Dan’s specialty was the 21st century. And from that century, the archives produced a mere handful.
That’s why Dr. Dan was so excited today. He was watching the cyber-wrecking ball phaser through a rather ugly university building from the late 1990s named Ehly Hall. But what was that moldy manila envelope that fell from behind an ancient fabric cubicle? “Wait, wait!” he cried, running to the site to retrieve it.
Dr. Dan was amazed at what he found: a trove of black-and-white photos from the 1990s produced by his predecessor. Artifacts from the twilight of film! It truly was a treasure.
But something else intrigued Dr. Dan. With the images was a short essay. It appears Ross had once been a photojournalist, and thought to observe the changes in photography during his lifetime. Truly, Dr. Dan mused, here was the kernel for his next journal article. Dr. Dan began to take notes as he read the ancient laser print:

“I began seriously taking pictures in the 1960s, using a Canon 35mm film camera of my mother’s. I think the 60s and 70s marked the pinnacle of the age of what we call staight photography. Straight means unposed,  unmanipulated. It grew out of the photographic ideals of the early 20th century. Early photographers of the age before World War I, people like Alfred Stieglitz and Edward Steichen, were perhaps most prominent in the movement. The idea was to strip away all the ornamentation, just as artists were changing the idea of ornamentation in architecture, furniture or graphic design.

“These photographers believed photos should portray life in an honest, real way—not a contrived way that many photographers liked toward the end of the 19th century. Sharp focus, not soft focus. People in real environments, not posing. Honesty, even if ugly, instead of pretension.

“This idea became easier to implement as cameras became easier to carry around and use. Photographers took to the streets of major cities to photograph life as it really was happening. They used the new, small, easy and fast 35mm cameras, particularly the Leica, as they prowled the streets for images they thought would reflect life as it really was.

Cambridge, 1988.

Cambridge, 1988.

“These street photographers, as we call them nowadays, were not necessarily journalists in the traditional sense. That is, they didn’t work for newspapers. Photojournalism really was not a term we’d be familiar with until after World War II. But certainly people took photos for news publication. By the 1930s these photographers, people like Margaret Bourke-White and Dorthea Lange,  reflected the ideals of straight photography in their photo stories for Life and other general news or picture magazines.

“After World War II, with the rise of the concept of objectivity to the top virtue of the journalists’ profession, photojournalism, too, reflected objective ideals. And in that, the concepts as established at the turn of the last century found their flowering. News photographers who believed in this ideal set themselves some ground rules for their straight photography:

  •  No posing.
  • Subject should not be aware of the camera, if possible.
  • No artificial light—at least, no obvious artificial light, such as flash.
  • No adding or removing objects from a scene. A trash can in the background is a trash can in the background, annoying as that may be.
  • No advanced manipulation in the darkroom. Only cropping, darkening and lightening allowed to enhance the quality of the image.
  • Photos must be used in their pure form, not as a tool for a graphic artist. No overprints or collages.

“Photographers both in journalism and in the fine arts often reflected these ideals, and today some of our most memorable images have been taken by these people. They believed that the honesty, the credibility, the integrity of the photographic image could only be established through the guarantee that this was how the photographer found life around him—straight photography.

“In fact, many photographers during this time were not enthusiastic about shooting color film, because they felt color distracted from the message of straight photography.

“I grew up as a photographer under this ideal.

“But today it seems to be no longer the ideal.

Nice, France, 1994.

Nice, France, 1994

“Today I think we see straight photography is not the goal so sought after as it once was. Photojournalists routinely ask subjects to pose, and add light in contrived ways. This is partly because you need better light to take color photos, and color has replaced black and white in most photojournalism. In fact, as we know, with digital cameras, there is no real difference between shooting color and B & W. Both always exist.

“Photojournalists have faced a dilemma in how they translate the ideals of old straight photography into the new digital darkroom. Could you remove and add objects, or manipulate in other ways, those old images in the darkroom? Of course. But it was a lot harder, and took a lot more time and skill than Photoshop software does today. That annoying garbage can in the background can be removed in five minutes’ time using the digital darkroom. Why not do it?

“The old-time street photographers who considered themselves artists more than journalists, too, seem to be on the wane. Controlling the subject and the environment makes a better-composed photo, after all. And beyond that, some people have adopted the philosophy that it’s unethical to take someone’s picture on the street without first soliciting their permission. This, of course, assures the subject will not respond in a way not influenced by knowledge of the photographer’s presence.

“At the same time, we have seen enormous growth in amateur snapshooters and videographers. The results are thrown to YouTube or Facebook. Much of this, too, is posed and controlled. The idea of the street photographer prowling for genuine slices of human life to be frozen in time seems to be giving way to the idea of image-makers directing and controlling human life to freeze a performance. And as the ability to make visual images has become ubiquitous, everyone has become a self-conscious performer.

“That makes my approach an anachronism in the 21st century, I think. My photos here and online look a little old-fashioned to me. Of course, they are in black and white. I haven’t been able to adapt very well to the visual complexity color adds to an image. And, of course, refusing to manipulate a scene in the least way makes the image less perfect. I really wish that lamp post weren’t there. I really hope someone will climb on that wall. That hat would really jump out if I could backlight it. What can a straight photographer do? Select a composition, and wait for a spontaneous event that may or may not happen.

Washington, D.C., 1992.

Washington, D.C., 1992.

“Today we seem less satisfied with that kind of patience for randomness. We wish to control, and to compress wait time, to generate finished images in minutes instead of hours. The time-consuming practical skills we needed for darkroom work have given way to the fast and automated skills of image manipulation software. And with it, I think, our ideals have changed. The integrity of the image unmanipulated seems to have lost value, just as the face unaided by cosmetic surgery is less appreciated, or the skin unadorned by tattooed decoration. Do we in a new millennium seek pretention instead of honesty? I don’t know. These are big questions. I just continue to prowl the streets and record life as it passes by my lens in all its disorganized randomness.”

Happy Happy Birthday Mark!!!! aka Vermontster

Journal Entry: Thu Sep 11, 2014, 1:06 AM
 
a great photographer who "knows how to see the reality"


:iconvermontster: Inferiority Complex by Vermontster


:iconvermontster: Run by Vermontster


:iconvermontster: Stable by Vermontster


:iconvermontster: More Alike Than Different by Vermontster


:iconvermontster: Hubcap by Vermontster


:iconvermontster: Pooch by Vermontster


:iconvermontster: Phonetographer by Vermontster

                                       
 remember to visit his gallery as well !!!
vermontster.deviantart.com/


This Journal Skin was designed by Night-Beast

Ordinary Madness by Jan aka Idiot aka lightdrafter 

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:iconrichard-cederfjard:
Richard-Cederfjard Featured By Owner 1 day ago  Hobbyist Photographer
Thank you so much for the :+devwatch:  :)
It means alot, take care :hug:
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:iconbatsceba:
Batsceba Featured By Owner 1 day ago   Photographer
:clap: :huggle:
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:iconsags:
sags Featured By Owner 2 days ago
Ooo! a fav' from you :)



Thanks.....


Brian :)
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:iconbatsceba:
Batsceba Featured By Owner Edited 1 day ago   Photographer
my pleasure Brian :)
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:iconscheinbar:
scheinbar Featured By Owner 2 days ago  Hobbyist Traditional Artist
:iconbigheartplz: thank you very much Pink Hearts - Free to use Soft Pink Hearts -FreeToUse Pink Hearts - Free to use
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:iconbatsceba:
Batsceba Featured By Owner 1 day ago   Photographer
:iconcocoheartplz:   :iconheartafireplz:
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:iconlaeksa-red:
laeksa-red Featured By Owner 3 days ago  Hobbyist General Artist
thank you
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:iconbatsceba:
Batsceba Featured By Owner 1 day ago   Photographer
you are welcome :)
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:iconmystikrhythmz:
mystikrhythmz Featured By Owner 4 days ago  Hobbyist Photographer
OMG  thank you for adding my work!!!!!  Tight Hug  <--- see?  real men CAN wear pink!!!  (that's you in the blue)
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:iconbatsceba:
Batsceba Featured By Owner 4 days ago   Photographer
my pleasure :huggle: I am in blue :D
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