Hashem El Madani Essay

1706 words - 7 pages

Any product of human industry is infinite, but photography is approaching. In 1976 , it was announced John Szarkowski, curator for a long period of photography at the Museum of Modern Art , gnomically to some extent, that " the world now contains more pictures of bricks. " Metaphor of abundance , is Szarkowski is a wonderful article , which indicates that the images are not only other object in the world, at one time , and a prerequisite for the exchange . Also estimate the amount , however, it now seems impossible low . If counting digital images (as they have now ) , then it must be true figure several orders of magnitude larger , closer to the number of stars in the galaxy , or nerve cells in the brain. If I had to guess , I would expect that the vast majority of these images are of faces .

For a long time , confined Photos image for a small number of places : in the governor , and the identity cards and passports , in the police files and high school yearbooks , and on the walls and the desktop, on the tombstones and wanted posters. Now they're everywhere : on Facebook and Twitter , and Tumblr plates, they follow us around in a cloud constantly updated . Photography became a way of biography and art broadcast . It's a way to follow up on what we were wearing in the past year , and tell the world what we did last night . But, as has become portraiture everywhere , but it has not gained in power. Still due to their ability to penetrate the viewer or owning only a small number of images from the billions .

Before Facebook, there was a photo studio room , a camera , and a photographer . Once upon a time , and studio portraiture was an essential part of the visual vernacular . Like most slang , and it was a photography studio at once everywhere and invisible . Along with shots of the mug , photographs of the crime scene , and aerial surveys snapshots of family , and it belongs to the bushes teeming with photography , and a network of practices and models that precede sometimes , and often expected to appear as a form of art recognized . In the hands of the biggest practitioners , it is without doubt an art in itself . But great pictures can also be the result of bureaucratic procedures , automatic gesture , or blind luck .

Studio photography is always in danger of apparently normal , and indeed , most of the images produced at the height of portraiture and today seems either rote or nice . But a few of these photographers make work that is still indelible , and it was one of these Hashim Madani . For fifty years , starting in 1949 , he worked as a photographer civilians in Sidon , a city in southern Lebanon . Began as an apprentice to a Jewish photographer in Haifa . After the events of 1948 , he moved to Lebanon . Initially taking pictures of friends and family members . A few years later , he opened his own studio , called Studio Scheherazade , above the film of the same name . With the passage of time, has become a leading photographer of...

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