The definition of Vernacular photography:
Vernacular photography refers to the creation of photographs by amateur or unknown photographers who take everyday life and common things as subjects. In other words, it is focus on everyday daily life. The use of vernacular photography in the arts is almost as old as photography itself. Vernacular photography has become far more commonplace in recent years as an art technique and is now a widely accepted genre of art photography.Vernacular photographs also have become popular with art collectors and with collectors of found photographs.
August Sander:
“Nothing is more hateful to me than photography coated with gimmicks, poses and false effects. Therefore let me speak the truth in all honesty about our age and the people of our age”
–August Sander, 1927
August Sander (17 November 1876 – 20 April 1964) was a German portrait and documentary photographer. Sander's first book Face of our Time was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century."
August Sander (17 November 1876 – 20 April 1964) was a German portrait and documentary photographer. Sander's first book Face of our Time was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century."
“People of 20th century” is a lifelong project of German photographer August Sander. It is a series of portraits, which captures the status of common man, involved in their jobs and relationships whilst the war torn Germany. It is one photography body divided into seven parts which illustrates the status of early 20th century Germany.
Robert Frank:
Robert Frank (born November 9, 1924) is an American photographer and documentary filmmaker, one of the most influential photographers of the mid-20th century. He noted for ironic renderings of American life and published the book titled The Americans in 1958, it describes American society through his fresh and nuanced outsider's view.
Martin Parr:
Martin Parr (born 23 May 1952) is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, in particular documenting the social classes of England, and more broadly the wealth of the Western world . His major projects have been rural communities (1975–82), The Last Resort (1983–85), The Cost of Living (1987–89), Small World(1987–94) and Common Sense (1995–99).
Since 1994, Parr has been a member of Magnum Photos. He has had around 40 solo photobooks published, and has featured in around 80 exhibitions worldwide – including the international touring exhibition ParrWorld, and a retrospective at the Barbican Arts Centre, London, in 2002.
When Martin Parr shoots street photography, he gets extremely close to his subjects and doesn’t ask for permission. The result is that he is able to get the shots for his projects that he envisions, and also gives the viewer a sense of “being there” in the midst of all the action.
Ways of Seeing by John Berger:
John Berger's article "Ways of Seeing" (1972) analyses the manner in which men and women are culturally represented, and the subsequent results these representations have on their conduct and self as well and mutual perception. In "Ways of Seeing" Berger claims that the representations of men and women in visual culture entice different "gazes", different ways in which they are looked at, with men having the legitimization of examining women, and women – also examine women.
At the opening of "Ways of Seeing' John Berger notes that the cultural presence of the woman is still very much different from that of the man. Berger argues that a man's presence in the world is all about is potency and is related to what he can do, power and ability. On the other hand, Berger says, a woman's presence is always related to itself, not the world, and she does not represent potential but rather only her herself, and what can or cannot be done to her, never by her. The sources of this identity are for Berger the age old notion that the woman was destined to take care of the man. He argues that as a result the woman is always self-conscious, always aware of her own presence in every action she performs. The woman constantly imagines and surveys herself and by this her identity is split between that of the surveyor and that of the one being surveyed – the two rules that she has in relation to herself. For this reason, Berger notes, her self value is measured through the manner in which she is portrayed, in her own eyes, in others' eyes and in men's eyes.
Men, says Berger, survey women before they relate to them and the results of this measuring determine their relation to the woman. As a result all of women's actions and appearance are indications of the manner in which she would like to be treated. That is, a woman's actions indicate the way she would like to be observed, contrary to man's actions which are just actions. Berger simplifies this notion by arguing that "men act – women appear". Women look at themselves being looked at. The surveying woman is a man, the surveyed woman is a woman, and by this the woman objectifies herself as a subject of a gaze, this is the meaning of Berger's title "Ways of seeing" – essentially meaning that there are different ways of seeing man and woman.
In conclusion, all of these three photographers are focus on reality. The photo by them can reflects the society, daily life and culture.
In conclusion, all of these three photographers are focus on reality. The photo by them can reflects the society, daily life and culture.
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