What was the Pictorialism Movement in photography?

The Pictorialism movement represented a photographic style and a set of rules that defined photography as art. Pictorialists considered themselves true amateurs, pursuing photography out of a genuine love for the art. Their focus was on capturing the beauty of subjects through composition, tonality, and subject, rather than simply documenting reality.

What was the straight photography movement in photography? Why was it popular amongst photographers?

The Straight Photography movement became popular amongst photographers because it focused on capturing subjects in a direct and unmanipulated way. It celebrated the beauty of everyday scenes and emphasized composition and lighting. By presenting unaltered images, it aimed to convey truthfulness and authenticity while establishing photography as a legitimate art form separate from painting.

How have Edward Weston and Aaron Siskind (above) been influenced by the Straight Photography Movement?

The Straight Photography movement had an impact on both Edward Weston and Aaron Siskind. Siskind started with documentary photography and later explored abstract forms, while Weston’s black-and-white photos highlighted the beauty of nature and ordinary objects. However, both photographers shared the movement’s focus on simplicity, composition, structure, and a direct approach to capturing their subjects, even as they developed their own unique styles.

What makes the work of Andreas Gursky and Uta Barth abstract? Are they both straight photographers? Why?

Andreas Gursky is known for his large, colourful photographs of buildings and landscapes. He explores how globalism and consumerism have affected people, although he doesn’t make direct social or political statements in his art. Gursky uses digital technology to enhance the abstract elements in his work, emphasizing repetition, lines, colors, and patterns. This gives his photographs a more abstract look. On the other hand, Uta Barth’s early works combined photography and painting. In pieces like Field (1995) and Ground (1992-1997), she deliberately focused the camera on a blank foreground, which created a blurry effect that covered the surroundings.