photography

Posted in Ancient World, Getty Villa, Photographs, Film, and Video

Athens through a Panoramic Lens

The Philopappos Monument and the Acropolis from Mouseion Hill, 2015
The Philopappos Monument and the Acropolis from Mouseion Hill, 2015

Dramatic panoramas of Athens evoke the past in the present. More»

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Posted in Art, Photographs, Film, and Video

Photos of L.A. Beneath the Noir

Hollywood Cougar, 2013, Steve Winter
Hollywood Cougar, 2013, Steve Winter

Pictures of L.A., beyond the stereotypes. More»

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Posted in #GettyInspired, Behind the Scenes

“Make for Yourself First” — Tips from a Favorite Instagrammer on Art and Creativity

Matt Allard
Matt Allard. This and photos below courtesy of and © Matt Allard

Writer and photographer Matt Allard on inspiration, writing, and success on social media. More»

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Posted in Getty Research Institute, Photographs, Film, and Video

Digitizing Photography Incunabula

Title page of Allen S. Heath: Photography: A new treatise, theoretical and practical…, New York 1855. At left, A Portrait of Sir Humphrey Davy. The First Experimenter in Photography, before 1855, by O. Sackersdorff
Title page of Allen S. Heath: Photography: A new treatise, theoretical and practical…, New York 1855. At left, A Portrait of Sir Humphrey Davy. The First Experimenter in Photography, before 1855, by O. Sackersdorff

Some of the world’s earliest photographically illustrated books are being digitized by the Getty Research Institute. More»

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Posted in Photographs, Film, and Video

Are India’s Elephants Blessed Creatures or Indentured Servants?

Elephant blesses priest in Jambukeswarar Temple. Thiruvanaikaval, Tamuil Nadu, India.  © Annette Bonnier
Elephant blesses priest in Jambukeswarar Temple. Thiruvanaikaval, Tamuil Nadu, India. © Annette Bonnier

Photographer Annette Bonnier captures the world surrounding the lives of Asian elephants in Indian society. More»

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Posted in Exhibitions and Installations, Miscellaneous, Photographs, Film, and Video

Ansel Adams Captures the Struggle and Beauty of a Japanese-American Internment Camp

Entrance / Adams
Entrance to Manzanar, 1943, Ansel Adams. Gelatin silver print (printed 1984). Private collection; courtesy of Photographic Traveling Exhibitions

Ansel Adams photographs document life at the Manzanar internment camp during World War II. More»

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Posted in Art, Education, J. Paul Getty Museum

Extending Learning Outside the Classroom: Daring Greatly with Self-Portraiture

Community Photoworks photo by Gracie Globerman
By Gracie Globerman

L.A. 10th graders explore self-expression through photography and writing More»

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Posted in J. Paul Getty Museum, Photographs, Film, and Video

This Just In: Gordon Parks’s “Flavio” Photographs

Flavio da Silva / Gordon Parks
Purchased with funds provided by the Photographs Council. © The Gordon Parks Foundation

Searing images of poverty in 1960s Brazil. More»

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Posted in J. Paul Getty Museum, Photographs, Film, and Video

The Man Who Photographed Ghosts

Mrs. Tinkham (detail), 1862-1875, William H. Mumler. Albumen silver print. 3 3/4 x 2 1/4 inches. The J. Paul Getty Museum. 84.XD.760.1.7
Mrs. Tinkham (detail), 1862-1875, William H. Mumler. Albumen silver print. 3 3/4 x 2 1/4 inches. The J. Paul Getty Museum. 84.XD.760.1.7

Meet the world’s first spirit photographer, William H. Mumler. More»

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Posted in Behind the Scenes, Exhibitions and Installations, Photographs, Film, and Video

Windows into Paris

bis rue de Douai
19 Mai, 2013, bis rue de douai, Paris 9-e

Photographer Gail Albert-Halaban spent a year exploring apartment windows of Paris, peering from one building into another, capturing moments that created unexpected intimacy among strangers. More»

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      A Chat with Photographer Tomoko Sawada

      A conversation about Japanese matchmaking traditions, self-portraiture, clothes, and identity.

      When did you start photographing yourself?
      I began making self-portraits when I was 19. It was an assignment for a photography class. I can’t even explain in Japanese why I liked them so much. It was instinctual. It’s as if I knew that this was going to be my style, that this is what I wanted to do. And I’m still doing it because I love the self-portrait, but I don’t know why. 

      What themes are you exploring in your work?
      I’m interested in the relationship between inside and outside. If you wear a sexy dress or if you wear kids clothes or casual clothes, people treat you differently. Even though you are you no matter what you wear. It’s that relationship that makes me think. 

      My new work is from when I was living in New York. When I was in New York, people didn’t think I was Japanese. Sometimes they thought I was Korean or Chines or Mongolian. Even Singaporean. It was funny, when I would go to the Japanese market, they would speak to me in English. When I went to the Korean market, they would speak to me in English again. I don’t seem to look Japanese outside of Japan. I was surprised because I think I look totally Japanese. It’s funny that people’s points of view are totally different.

      Could you talk a little about OMIAI, the series that represents a traditional Japanese matchmaking technique.
      OMIAI is a tradition that is somehow still working today. Usually, there is a matchmaker and photographs are exchanged before meeting. If both sides are interested, they can meet for lunch or dinner accompanied by their parents and steps for marriage proceed from there. In the old days, some people chose their marriage partner just through photographs, without even meeting each other. 

      When OMIAI was exhibited in Japan I saw people making various comments in from of the work. People would say things like, “she looks like a good cook; surely she would prepare delicious meals every day,” or “ this girl could be a perfect bride for my son,” or “I can tell she would not be a good housewife,” or “she’s such a graceful girl; she must be the daughter of a decent family.” Comments like that. 

      What was the process of making that work?
      I gained 10 pounds before I started taking the pictures, and in six months I lost forty pounds, because I wanted to look different in each photo. I wanted to change the way my legs looked. 

      Every weekend I went to the hair salon and put on a kimono. Then I went to the photo studio on the street in Japan. I would take a picture and then change my clothes to western dress. Then I would go to the studio again the next weekend. 

      Did you tell the photographer how you wanted it done?
      I told him I was an artist and wanted to make photographs with him. I told him to think that each weekend new girls would show up to make the OMIAI. I didn’t want him to think of me as the same girl who came every weekend. He understood the concept. 

      We had fun. While he was taking pictures, his wife would tell me how to lose weight. She gave me many tips.


      Tomoko Sawada’s work is on view at the Getty until February 21, 2016 in “The Younger Generation: Contemporary Japanese Photography”

      02/11/16

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