Bill Brandt
Bill Brandt
Bill Brandt, was a British photographer and photojournalist. Although born in Germany, Brandt moved to England, where he became known for his images of British society for such magazine as Lilliput and Picture Post, later his distorted nudes, portraits of famous artists and landscapes. He is widely considered to be one of the most important British photographers of the 20th century...
NationalityBritish
ProfessionPhotographer
Date of Birth3 May 1904
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United may have to pay more cash to the PBGC and others ... and it'd be difficult to find the money. They'll either have to get the banks to advance more or go find an equity sponsor who will put enough cash in there that creditors will get a meaningful distribution.
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There's a lot of people who would love to borrow $50 million from the state of Ohio and have an eight-year interest free loan.
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Now that the financing is lined up, I think there will be other parties that come to the fore.
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Photography is still a very new medium and everything must be tried and dare... photography has no rules. It is not a sport. It is the result which counts, no matter how it is achieved.
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My goal is not to please the coin world.
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Without exception, they were DVDs and computer files.
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And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.
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No amount of toying with shades of print or with printing papers will transform a commonplace photograph into anything other than a commonplace photograph.
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The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
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Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.
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Sometimes they are a matter of luck; the photographer could not expect or hope for them. Sometimes they are a matter of patience, waiting for an effect to be repeated that he has seen and lost or for one that he anticipates.
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I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.
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Andre Breton once said that a portrait should not only be an image but an oracle one questions, and that the photographer's aim should be a profound likeness, which physically and morally predicts the subject's entire future.
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In my portraits I try to avoid the fleeting expression and vivacity of a snapshot.