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ARCH.2003.39, Rendition: 806601
The image shows a newspaper article from The Boston Globe, dated Sunday, October 26, 1980. The article is titled "Free photography course: Learn to see" and is written by William Haring, a Globe Staff writer.
The article discusses how a child learns by copying their parents and how adults can learn photography in a similar manner. It mentions two magazines, Aperture and Camera, which can serve as educational tools for learning photography.
Aperture, founded in 1952, is described as a magazine that provides a unique perspective on photography, focusing on new dimensions of seeing and new meanings of work. It is noted for its intellectual and metaphysical approach.
Camera, on the other hand, is mentioned as a Swiss magazine that has been published since 1922. It is known for its high-quality reproductions and its focus on the technical and aesthetic aspects of photography.
The article also highlights the importance of understanding the context and background of photographs to truly appreciate them. It mentions that photography is more about the photographer's vision and less about the equipment used.
Additionally, the article provides information on where to find these magazines, such as the Boston Public Library and the MIT Hayden Library. It also discusses the challenges and rewards of learning photography through self-study and observation.
Overall, the article emphasizes the value of learning photography through careful observation and understanding, rather than just focusing on the technical aspects.
By William Hartung
Globe Staff
In the beginning, the child learns by copying—first the sounds, the movements, the sounds. As he masters them, he begins to make his own sounds and movements, and the sum of his experience and events.
There are two kinds of seeing: the first is the kind of seeing that is not seeing at all, but merely looking at things. The second is the kind of seeing that is really looking at things. In the first, the eye is merely a recording instrument; in the second, the mind is also involved.
In the first, the eye is merely a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument; in the second, the mind is also involved.
In the second, the eye is not only a recording instrument;
The image is a newspaper clipping from The Boston Globe dated October 27, 1974. The article, titled "Free photography course: Learn to see," is written by William Harting.
The article discusses the basics of photography and the importance of learning to see and interpret the world around us. It emphasizes that the key to photography is understanding the elements of composition and the ability to look beyond the obvious to capture the essence of a scene.
Key points include:
Learning to See: The article suggests that the first step in photography is learning to see the world as a photographer does, focusing on shapes, light, and shadows, and understanding how these elements interact.
Training the Eye: It highlights the importance of training the eye to look at photographs and to identify the parts that make a good image. It mentions that the best way to do this is by studying great photographers and looking at their work critically.
Gallery Visits: It recommends visiting galleries and museums to understand the art of photography and to practice looking at photographs in a thoughtful way.
Camera and Print Publications: The article mentions magazines like Aperture and Camera Work, which are important resources for photographers looking to improve their skills and understanding of photography.
Public Exhibitions: It touches on the role of public exhibitions and the importance of viewing photographs in a gallery setting to gain insights into photographic techniques and styles.
Cultural Context: The text discusses the historical and cultural significance of photography, from its early days to its modern interpretations.
The article concludes with the idea that understanding and practicing photography is an ongoing process that involves continuous learning and engagement with the art form.
The image shows a newspaper clipping from The Boston Globe dated October 27, 1974. The article is titled "Free photography course: Learn to see" and is written by William Harting.
The article discusses a free photography course aimed at helping individuals develop their visual perception skills. It emphasizes the importance of seeing and understanding the world through the lens of a camera, rather than just copying it mechanically. The author mentions that the course is based on the principles outlined in Minor White's book, "The Power of the Print," which focuses on the dimensions of seeing and understanding photography.
The text highlights that learning to see involves looking beyond the surface, understanding the elements that make a photograph compelling, and mastering the ability to capture the essence of a scene. It also touches on the history of photography, including the work of Robert Frank and the significance of the Hayden Gallery at MIT.
The article further elaborates on the role of museums and galleries in enhancing visual literacy and the importance of looking at images critically. It mentions several museums in Boston and the Worcester Art Museum, suggesting that these places are good for training one's eye to see and appreciate photography better.
The article concludes by emphasizing the importance of understanding the craft of photography, not just as a technical skill but also as a means to see the world differently. It also hints at the idea that making fine prints involves careful decisions and understanding the intricacies of the medium.
The image shows a page from The Boston Globe, dated October 27, 1974. The article is titled "Free photography course: Learn to see" and is written by William Harting Globe Staff.
The article discusses a free photography course that aims to teach people to see and interpret the world through photography. It begins by explaining that the course helps individuals learn to appreciate the nuances of visual art and photography, such as light, shadows, and the interplay of shapes and textures.
Key points include:
The article is part of a larger piece, with a note indicating it is continued on Page 19.
The image is a scanned article from The Boston Globe, dated Sunday, October 27, 1974. The article is titled "Free photography course: Learn to see" and is written by William Harting. Here's a detailed summary:
The article discusses a free photography course offered by Aperture magazine. It emphasizes that the course aims to teach participants how to truly "see" and understand photographic images, rather than focusing on technical aspects like exposure and development.
Aperture, founded by Minor White and others in 1952, is a photography magazine and publisher. It is noted for its unique approach to photography, focusing on the deeper, often metaphysical aspects of images.
The course, titled "Photography for the Fun of It," was initially published in 1970 and spans a year. Each month, Aperture sends a set of photographs from different photographers, alongside various themes like portraiture, landscape, and street photography. The aim is to get beyond the initial reaction to photographs and understand them on a more profound level.
Minor White, the co-founder of Aperture, believed in the deeper, almost mystical qualities of photographs. He felt that truly understanding a photograph required an almost meditative focus, and that one must look beyond the surface to appreciate its full value.
The article also mentions that the Museum of Fine Arts in Boston, along with other institutions like MIT's Hayden Gallery and the Boston Public Library, has a rich collection of photographs that can be viewed and studied. These resources are noted for their educational value, providing an opportunity to apply what one learns from the Aperture course.
The course offered by Aperture is presented as a valuable resource for both amateur and experienced photographers who want to improve their ability to see and interpret images. The article encourages readers to engage deeply with photographs, suggesting that this practice can significantly enhance their photographic skills and appreciation.
Overall, the article is a detailed advertisement and explanation of the Aperture course, emphasizing its unique approach to teaching photography as an art of seeing and understanding.
The image shows a cut-out newspaper article with a partial headline reading "Free photography course: Learn to see." The paper is identified as "The Boston Globe" at the top. The article is by William Haring and seems to provide insights or lessons on photography, with references to concepts such as the importance of learning to see, the difference between looking and observing, and the practice of studying great works to improve one's photographic skills.
The article also mentions noteworthy photographers and exhibits, like Edward Weston's exhibit at the Museum of Fine Arts and Ansel Adams' work. It makes a case for the active role of the viewer in interpreting photographs and suggests visiting museums, galleries, and looking at books to enhance one's visual literacy.
The paper is torn, with the right side of the article missing, which suggests it may have been part of a larger page or section. The visible text starts mid-sentence, and the continuation of the article on a different page is indicated at the bottom right with "Continued on Page 19." The article appears to be somewhat aged, with yellowing, suggesting that it might be old or exposed to light or other elements over time.
This image shows a newspaper clipping from The Boston Globe, dated Sunday, October 27, 1974. The article is titled "Free photography course: Learn to see" and is written by William Harting, a Globe Staff member.
The article discusses the best ways to learn photography, emphasizing the importance of learning to see rather than just copying images. It mentions several photography-related publications and exhibitions, such as those from Aperture, Camera, and MIT's Hayden Gallery. The text also highlights the value of understanding and absorbing images, the qualities that make fine prints, and questions about the subjective nature of photography.
It covers various topics including the history of photography, notable photographic exhibitions of the time, and advice for photographers on how to improve their craft by truly appreciating and interpreting their visual environment. The article also points out the role of museums and other institutions in the presentation of photography and encourages deeper engagement with photographic art beyond mere technical skills.
The clipping is taped and unevenly cut, with three columns of text visible, and it indicates that the article continues on page 19.
The image appears to be a newspaper clipping or article about photography. The text discusses the importance of learning to see and appreciate photography, as well as the role of institutions like galleries and museums in showcasing and educating people about photography. It mentions the availability of free photography courses and exhibitions, as well as the challenges of making objective decisions in photography.
The image is torn and has some missing pieces, which may indicate that it was extracted from a larger publication or document. The text is written in a formal and informative style, suggesting that it was intended for a general audience interested in photography.
Overall, the image provides a glimpse into the world of photography and the efforts to promote and educate people about this art form.
The image is a photograph of a newspaper clipping. The clipping is torn into several pieces, but the text is mostly legible. The clipping appears to be from "The Boston Globe," dated October 21, 1974, as indicated by the date at the top left corner of the clipping. The headline reads "Free photography course: Learn to see" and is written in bold, capitalized letters. The byline "By William Harting Globe Staff" is located beneath the headline.
The article discusses the concept of learning to see through photography. It begins with a description of the initial stages of learning photography, where the learner copies others and gradually develops their own vision. The text emphasizes the importance of moving beyond copying and developing one's unique perspective.
The article mentions various places where one can learn to see, such as galleries, museums, and historic sites. It highlights the importance of examining photographs in different contexts and understanding the decisions made by photographers in creating their work. The article also touches on the subjective nature of photography and how it can evoke different responses from viewers.
The clipping includes several sections of text, each discussing different aspects of photography and perception. The text is written in a journalistic style, with short paragraphs and clear, concise language. The article encourages readers to explore photography as a means of developing their observational skills and understanding the world around them.
The clipping is mounted on a gray background, which contrasts with the white paper of the newspaper. The edges of the clipping are uneven, indicating that it has been torn from the newspaper. The overall appearance of the clipping suggests that it is an old, historical document, possibly used for educational or reference purposes.