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John Everard (1)

Autor(a) de Second Sitting Another Artist's Model

Para outros autores com o nome John Everard, veja a página de desambiguação.

12 Works 42 Membros 2 Reviews

Séries

Obras de John Everard

Artist's Model (1951) 10 cópias
Living colour (1937) 4 cópias
Oriental Model (1955) 3 cópias
Nymph and Naiad (1940) 2 cópias
Model in Movement (1959) 2 cópias
Model In Shadow (1965) 1 exemplar(es)
My hundred best studies 1 exemplar(es)
Eves without Leaves — Fotógrafo — 1 exemplar(es)

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Resenhas

This book is not just 'Another Artist's Model' it is a big improvement on Everard's first outing, with many of the aspects which readers of the previous book commented on being addressed; such as the miniature pictures being increased in size and more modelling in the lighting used.

To try and find the right models (tall and blond) Everard had to travel six thousand miles to, in, and around Scandinavia; but this was not the end of his adventures. It turns out that most Scandinavian girls (his words) turned out to be brunettes and if one did not know better could have passed as any girl you passed on the streets in Britain. Danish girls seemed to his experience to be shorter than Swedes too.
It was also amusing hearing about how baffled the Customs officers were, faced with Everard's various custom rigs and turntables which he travelled with in order to achieve his all-round photography.

The male models were the sons of Professor Jack Robinson of Johannesburg - the family who won no less than three World Judo championships in 1953 alone. It may have been in the interests of protecting their public image that they then covered their 'boy parts' in loincloths, but I suspect the prudish attitude of the times would have possibly left the book's readers offended by such un-photographic dangly objects getting in these camera shots (although Imogen Cunningham never seemed bothered by them almost 50 years earlier).

There is also more information on Everard's choice of Cameras (Hasselblad and Linhof 4 by 5 | half-plate), film (Ferrania 32), and paper (Agfa Glossy Portriga Rapid, or Agfa Glossy Bromide paper). But there are also nearly four pages of technical advice for those interested.

Personally speaking, I found the photography far better suited to my needs in this book in terms of size and also lighting which produced far more pleasing modelling that I found I could translate easier to my own work. So I've added 1/2 a star from the previous book.
Once again, as before, the hair and make-up does date the models firmly in the 1950s but it is certainly a very elegant look which I also rather like.
… (mais)
 
Marcado
Sylak | Sep 13, 2018 |
In the synopsis (on the front cover, inside flap), the publishers emphasise the 'WORLD-FAMOUS' status of the Camera Artist in question, and how nothing like this book has ever been attempted before. They also go on to state that "there is hardly a pose of the human figure that is not illustrated.", and boast over 1,200 photographs - that may be factually correct, but in many examples the models stand less than 3" tall. So be aware.
John Everard, in his Preface, is much more realistic; stating that during the war years there had been a spate of books on the nude, some unfortunately were very crude and lacking in both artistic and production merit, prompting him to address the issue with a book which fulfilled the demands of artists, sculptors and draftsmen; but, he also states that "Even if it were double or treble its present size it would not cover such a vast subject." and that as a consequence 'Artist's Model' had to be a compromise in terms of selecting poses for the book.

Interestingly the matter of the changing attitudes to the female form are given some consideration by the photographer. His conclusion is that the ideal of beauty in slimness as it is today (c. 1950) is likely a result of the war's monotonous diet, nervous strain, and lack of sleep. And that it is hard to say whether public tastes, which decides on a favourite type of fashionable figure sets the standard, or whether conditions influence the taste or standard demand.
He then goes to great lengths to excuse the lack of body fat on has choice of models, stating that he felt obliged to yield to current public appetites for such body shapes lest he end up producing a book which nobody would want. He does however stress that no 'slimming' retouching of the photographs has been made.
Many of the issues regarding the portrayal of slim models in the media and what is now referred to as 'photoshopping' are still hot topics nearly 70 years later with no sign of being resolved any time soon. Add to this a growing obese population, and the margin between the ideal body shape portrayed on camera and the reality has never been so great.

The miniature figures in the first half of the book are designed to be read left to right. The first figure is taken from the same angle as the master picture which faces it, but with fluorescent lights (which are practically shadowless). Exposure is cut to the absolute minimum, with very full development.
To keep the same pose viewed from all round, the models are put on a turntable which rotates 30 degrees after each shot.
Everard explains that using Kodak Super XX, 4" x 5" or halfplate, developed for 35 to 49 minutes at 68 degrees, in Time Standard Developer, and a Compur shutter, working at one-tenth at F/11 as an average speed and aperture, he is able to consistently obtain good flesh tones in his nude work.
He also gives more insight onto the professions of some of his models pointing out the difference in hands between the gardener vs. the fighter pilot.

The first book of its type which set the standard for those to follow. The make-up and hair styles of many of the subjects do date the book.
It is no substitute for a live model, but certainly has use as a tool for illustrators.
… (mais)
½
 
Marcado
Sylak | Sep 11, 2018 |

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Estatísticas

Obras
12
Membros
42
Popularidade
#357,757
Avaliação
½ 4.3
Resenhas
2
ISBNs
2