Chris KillipChris Killip was born 11 July 1946 in Douglas, Isle of Man and in 1964 moved toLondon where he worked as an assistant to the advertising photographer AdrianFlowers. In 1969 he stopped his commercial work to concentrate on the photographythat he wanted to do. In 1969 he moved back to the Isle of Man, photographing itextensively. In 1974 he was commissioned to photograph Bury St Edmunds and Huddersfield, andin 1975 he won a two-year fellowship from Northern Arts to photograph thenortheast of England; Creative Camera devoted its entire May 1977 issue to this work.In 1988 Killip was commissioned by Pirelli U.K. which thought that he mightphotograph its tire factory in Burton; agreement on this was reached in April the nextyear, whereupon Killip started work.From 1992 until 2004, Killip photographed pilgrimages and other scenes in ruralIreland; the result was published in 2009 by Thames & Hudson as Here ComesEverybody.Killip is the recipient of numerous awards, including the second Henri Cartier-BressonAward (for In Flagrante). He has exhibited all over the world, written extensively,appeared on radio and television, and has curated many exhibitions
This photo was taken in 1980, Newcastle-upon-Tyne. It is called Father and Son. The picture was published in a book called In Flagrante, the book was a series ofphotographs showing the communities in Northern England that were devastated by thedeindustrialisation common to policies carried out by Thatcher and her predecessorsstarting in the mid-1970s.
When Chris Killip photographs people he is trying to show the hardships that they havebeen through or are going through. He photographs in mainly black and white, which iseffective in what he is trying to show because it causes no distractions and people reallylook at the subject of the image. The subjects that Killip have photographed are not usually posed majorly, they seem tobe doing different activities or look as though Killip has taken the photo as a passer byrather than making them pose for a picture, this makes the images seem more real andmake a viewer want to know more about the subjects of the images as they aren’t smilingor posing at the camera, you can tell more about a person when they aren’t posed orputting on an act for the camera.Killip uses lighting well as the faces of his subjects are always more visible than the rest ofthem, making is clear that he wants you to see the expressions of their faces.
Diane ArbusDiane Arbus was born on March 14, 1923 in NewYork City. She was an American photographer,famous for her black and white portraits ofdeviant and marginal people (dwarfs, giants,transgender people, nudists, circus performers).She married Allan Arbus at the age of eighteen,the two were both interested in photographyand in 1946 they started up a commercialphotography business called "Diane & AllanArbus," with Diane as art director and Allan asthe photographer. They contributed toGlamour, Seventeen, Vogue, Harpers Bazaar,and other magazines even though "they bothhated the fashion world."In 1956 Arbus quit the commercial photographybusiness. Although she had previously studiedphotography with Berenice Abbott, her studieswith Lisette Model in 1956 led to Arbuss mostwell-known methods and style.
This photograph, took in 1967 is of two twin girls. They are both dressed the sameagainst a plain background, meaning they are the only subject in the image. The girlsare both looking directly into the camera, this is effective because it makes the viewerreally look at them, they start to see that although at first glance they are identical, ifyou look a little more closely you start to notice differences.With a lot of Arbus’ photography the subjects are looking directly into the camera and are lit by direct flash or other frontal lighting.
I think the way that Diane Arbus photographs people looking directly in to the camera isvery effective because it makes the viewer want to know more about the subject, you cansee more about the person by looking at their facial expressions than when looking atwhere they are, what theyre doing or what theyre wearing. I also think that her use ofblack and white is effective for the same reason, you aren’t distracted by anything in thebackground as all the colours are blended in and don’t stand out, instead you are justlooking at the person in the image which was Arbus’ intention.I’m not sure that I like all of Arbus’ work, although I do think she had a very good way ofgetting people to look at the people she photographed in a different light then they usuallywould if they passed them on the streets.
Mary-Ellen MarkMary Ellen Mark was born March 20, 1940 in Philadelphia, Pennsylvania.She is an American photographer known for her photojournalism, portraiture, andadvertising photography.She first began photographing with a Box Brownie camera at age nine. she hasa BFA degree in painting and art history from the University of Pennsylvania in1962, and a Masters Degree in photojournalism from that universitys AnnenbergSchool for Communication in 1964.Her photography has addressed such social issues as homelessness, loneliness, drugaddiction, and prostitution. She works primarily in black and white.Mark became a unit photographer on movie sets, shooting production stills for filmsincluding Arthur Penns Alices Restaurant (1969), Mike Nichols Catch-22 (1970), Carnal Knowledge (1971) and Francis Ford Coppolas ApocalypseNow (1979) among her earliest.Her photography has addressed such social issues as homelessness, loneliness,drug addiction, and prostitution.
Mary Ellen Mark is a portrait photographer, she mainly works inblack and white, using classic Kodak Tri-X film.
This photograph was taken in December, 1987 when Mary Ellen Mark spent a weekfollowing a homeless family for a photography project to be feature in LIFE accompanying anarticle wrote by Anne Fadiman.The photo is of the oldest child in the family, Chrissy, aged 8. In this photograph you can seethat Chrissy is clearly upset by something, she is the main focal point of the image, behindher is a window, not much can be seen outside of it.The picture is in black and white, I think that this makes anyone who is looking at thisphotograph look more closely at the features of the girls face, they are not distracted byanything else.
I like this photograph by Mary Ellen Mark because of how it shocks the viewer, it is of ayoung girl named Amanda and her cousin Amy. Amanda is the girl stood up in thepaddling pool, she is only nine years old yet she is smoking and mimicking actions ofsomeone much older than herself. This image is in black and white, I think this is effective because a viewer isn’t distractedby anything in the background as it is all quite plain and dull, whereas the two girls andthe pool are much lighter, drawing your eyes to them.I think that images like this make a viewer want to find out more about the subjects andwho they are. Something that I would like to happen with my photography.