Photography After 1917
Essay title: Photography After 1917
Analysis of a photography after 1917.
AUBREY BODINE.
“BUILDERS IN LINE”. (1961)
Aubrey Bodines photographic career began in 1923 when as an office boy with the Baltimore Sun he was a newspaperman covering all sorts of stories with his camera so this gave him opportunities to travel throughout the region and learn about it in every tide, wind, weather and season and out of this experience came amazing pictures of farming, oystering, hunting, soap boiling, blacksmithing, clock making, bricklaying and dozens of other occupations he a true American original, combined reportage with the creative eye of an artist. Bodine believed that photography could be a creative discipline, and he studied the principles of art, the camera and the dark room equipment were tools to him like the painters brush or the sculptors chisel. He was always experimenting with his tools, but hardly ever made a mistake. Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodines rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture.
Bodines work includes pictorialist images as well as “straight” story-telling photojournalism and are also creative works of great originality. From his photographs I choose the image named “Builders in Line”, a a perfectly balanced