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'The Self-Portrait' - Limited Edition of 10 Photograph

John Crosley

United States

Photography, Black & White on Paper

Size: 32.3 W x 40 H x 0.1 D in

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About The Artwork

This is one image from three to six months of my experimenting with a 2-1/4 in square format. This image was taken by a Mamiya-Sekor twin lens reflex. This camera was unique because though you could not see through the lens taking the image, you saw through a lens just below it. Unlike the famed and prized Rolleiflex, the main objective (lens) and the one you sighted through, both were mounted on a lens board that was held by a spring-like mechanism that allowed for this camera to take different lens lengths, two lenses of same focal length to the interchangeable lens board. Viewing was done Rollei style on ground glass by looking down. The view was upside down and directions reversed, so in this main format framing was difficult. A knockout panel allowed for sports views and quicker views with lots of guesswork. Knockouts on the framework surroundin gthe ground class allowed the framework (which held a magnfier for the ground glass) to 'knock out' from and back as the photographer framed the subject. Thus framing was possible without dealing with image reversal on ground glass. Rolleiflex had a similar arrangement, both usable for sports finding. This particular camera was purchased on Hong Kong and US customs at the border requjired me to purchase a power drill with bur attachment to grind out the camera names. Customs once was extremely careful in enforcing exlusive use permission for various brands sold in the United States and preventing 'gray market' camera, etc. to enter the United States. This was a 'gray market' camera. Best way to avoid that enforcement was to throw away the bosx or ship it empty to home in the US and just strap the camera on, filled with partially exposed film Agents then would seldom even question the origin of such a camera/lens combo when 'used' or appearing used. ' 'These days there seems little enforceement at all,and indeed I am not sure the U.S. laws that allowed such enforcement still exist or if they were legal even then, 1968. Custom sis a dividion of the US treasury which collecgts 'duty' (a form of tax) on certain imports on which tax is allowed and regulates or did regulate which brand name goods could be brought into the US, especially if to be resold. This woman is a student artist University of Oregon art class studio with north light. She is creating a self-portrait using a mirror. This is not just an image that she sees in the mirror, but also the image she is painting and the back of her head. Here we see the mystery between how exactly we are seen and what the mind's eye with the body can create. Good art is not always representational art in painting, drawing, etc. Due to various properties that deal with 'capturing realithy' the camera is well equipped to create an image that is 'real' without often the mind's and artist's distortion when used in its most simple uses. Good photographers understand that the ability of the camera to 'capture reality'; ius not absolute and many images can be 'manipulated' in camera or darkroom to create more interpretative works. I took this image a short period in summer beween closing of Columbia Univ. spring, 1968 and my departure for Viet Nam from Seattle -- first on one ship, then another and a continuation of the 'combat' period of my 'freelance' work. The heavy camera with its twin lens board required and ground glass viewing from above, required that I borrow a s tepladder from the studio, climb on it and then frame this image. A twin lens reflex camera of this size and weight was poorly suited for 'candid' work, but its images had good sale quality because of the very fine grain. An extremely large image of traffic from overhead at LA's busiest freeways and their interchange was destroyed 9-11 while on display at the World Trade Center, I have been told by my 'stock' agency at the time. Please enjoy this example of 'mirroring'. This is a varant of 'mirroring' that I seldom use, though I often use 'mirroring' in my photo work. Please enjoy (c) 1968 - 2020, John Crosley, all rights reserved.

Details & Dimensions

Photography:Black & White on Paper

Artist Produced Limited Edition of:10

Size:32.3 W x 40 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am a photographer who has taken in the past 12 years, over est. 2 million images, mostly street, with many shown previously under various host sites to over est. 200 million counted viewers. I practiced law very successfully in Silicon Valley, CA for nearly two decades; retiring at about age 40. I am a graduate of NYC's Columbia College, Columbia University. As editor/writer/photographer, I won the Lebhar-Friedman Publishing Blue Chip award for excellence in writing, editing, and photography. For law,I won a variety of awards and special recognition. I attended law school in Silicon Valley, graduating with honors and founding my own Silicon Valley law firm, from which I retired in the late 1980s. I have worked side by side with over a half dozen Pulitzer prize-winning photographers, was shot once, and later medically evacuated from Vietnam while photographing the war there. Self-taught in photography, later, among others, I have been mentored by the following: 1. Henri Cartier-Bresson 2. Sal Vader, Pulitzer winner, Associated Press 3. Wes Gallagher, President/Ceo of Associated Press who groomed me to replace him as A.P. head. 4. Sam Walton, Wal-Mart founder who tried to lure me into his smaller company, now the world's largest. retailer. 5. Walter Baring, Peabody award winner, WRVR-FM NYC's premier cultural radio station. 6./ A variety of great photographers, many Pulitzer winners, including many also from Associated Press,/ Many were Vietnam war colleagues from my freelancing the Vietnam war; others from AP NYC world headquarters. I took H C-B's advice: 'Shoot for yourself, John,' to avoid photo work that would require shooting in a special style. not my own. HCB's s generous, helpful advice also resulted in a career with AP wire service as a world news writer and editor, world service, Associated Press world headquarters, NYC. 6. Michel Karman, Lucie Award photo printer and photo exhibition genius. ent in two 'wars' -- the Vietnamese War, and a prisoner of war taken by Russian separatists in the current Ukrainian--Russian Separatist battles that killed over 10,000 and displaced over 1 million. While writing and as a worldwide photo editor for Associated Press, I was asked to understudy their CEO (worldwide General Manager), to become successor general manager on his retirement, but declined the position. I live the lifestyle of a photographer and am proud of it.

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