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[探索发现] 【整理】2008-07-09 The Genius of Photography 摄影演义后传- 8

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[探索发现] 【整理】2008-07-09 The Genius of Photography 摄影演义后传- 8

The Genius of Photography 摄影演义


In the course of our 170 year relationship, photography has delighted us, served us, moved us, outraged us and occasionally disappointed us. But mainly, it has intrigued us by showing the secret strangeness that lies beneath the world of appearances. And that is photography's true genius.





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【整理】——sylvia_qian

For reference only

 

“So if we look at this picture, we can see here, in the Rodchenko book, how the original looked, rather grey and flat across here, the montage, all together much more successful as a picture, he`s able to put in the text, give much more impact for this crowd of workers, and of course this gets more impact, in the way that he`s given the contrast, really heightened-up contrast between here and the backdrop. You can see all these different components have been put together to make the picture, and although when you look at this you wouldn’t think it’s a particular montage, it's only when you see the original, and you see the, how it`s changed in its intention and its meaning, then you really understand how photomontage this is.”

 

But Rodchenko's virtuoso postproduction conceals a grim truth, these determined looking workers were mostly political prisoners. And the White Sea Canal, a 140 mile-long gulag, and far from being rehabilitated through their labor, 200,000 of them would die as a result of it. A reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

It's not clear how much Rodchenko knew about the realities of the White Sea Canal, but a snapshot of his daughter Varvara, taken around this time, suggests he knew all about the ambiguities of a camera's all seeing eye.

 

“She is shot from above, and so she is looking up, covering her eyes, squinting up at the sun, and then looming above her is the dark shadow of her farther, Rodchenko with the camera. And yet all we see of him is this black shadow that’s indistinct, so there`s both the mastery of vision and blindness and the same thing with the little girl, that she’s covering one eye as if she can't see, and yet she is being seen in such (a) total clarity in the sunlight, and it just seems to be about the camera itself as this possibility of blindness and insight of amplified human vision and always the inability to see.”

 

While Rodchenko struggled to photograph a new society, in Paris, another photographer was attempting to preserve one about to disappear, Eugene Atget had spent 30 years documenting the city's ancient core, from backstreet to shopfront before it was swept away by redevelopment.

 

Vocabulary:

 

virtuoso:

1.   A virtuoso is someone who is extremely good at something, especially at playing a musical instrument.

He was gaining a reputation as a remarkable virtuoso.

2.   A virtuoso performance or display shows great skill.

England's football fans are hoping for a virtuoso performance against Cameroon.

gulag: A gulag is a prison camp where conditions are extremely bad and the prisoners are forced to work very hard. The name gulag comes from the prison camps in the former Soviet Union.

snapshot: A snapshot is a photograph that is taken quickly and casually.

squint at: look (at sth) with eyes half shut or turned sideways, or through a narrow opening 眯着眼睛, 斜着眼睛(看某物); ; 从小孔或缝隙里看, 窥看(某物)

indistinct: Something that is indistinct is unclear and difficult to see, hear, or recognize.

The lettering is fuzzy and indistinct.

the indistinct murmur of voices.

[ 本帖最后由 sylvia_qian 于 2008-7-9 22:12 编辑 ]

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homework

--

So if you look at this picture,we can see here,the Rodchenko's book,have the original look,and the green flat across here,the montage,all together most successful his picture,had they putting in the test,give much more impact for these creative workers,and cost this guest more impact,in the way of these given the contrast,really highten that contrast between here and backdrop.

 

You can see all these different patterns we've put together to make these pictuers,and although look this you won't think particular montage,it's only when you see the original,and you see the house change,it's intentional,it's meaning,that you really understand how photo montage exists.

 

But Rodchenko's virtuoso post production can seals a grain truth,these determined looking workers were mostly political prisoners,and White Sea canal,140 mile long*,and far from being rehabilitated to the labor,200,000 of them would die as result of it.A reality that can still be glanced in the unsmiling faces,the untouched original.

 

It's not clear how much Rodchenko knew about the reality of White Sea canal,but its snapshot of this doctor*,takes around this time,suggests he knew all about the ambiguities of camera's all seeing eyes.

 

She is shot from above,and so she's looking up,covering her eyes,squinting up the sun,and then looming above her is the dark shadow of her farther Rodchenko with the camera,and yet all we see of him is this black shadow in this distinct,so this the mastery the vision and blackness and same thing with little girl,that she covering one eye,that she can't see,and yet she is being seen in such a total clearacy and sunlight,and it seems about the camera itself and this possibility blackness in sight of amplified human vision and always the inability to see.

 

While Rodchenko struggle to photograhy on new society,in Paris another photographer was attempting to preserve one about the disappear,*has been 30 years documenting the city's ancient curio,from backstreet to shop prunt before was sweat away by redevelopment.

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on melody

So if you look at this picture,we can see here,the Rodchenko's book,have the original look,and the green flat across here,the montage, all together much more successful his picture, he is over\ putting in the text, give much more impact for these crowded workers,and of cause this get more impact,in the way of these given the contrast,really heighten up  contrast between here and backdrop.

 You can see all these different components  we've  put together to make the pictuer,and although when you look this you won't think particular montage,it's only when you see the original,and you see the how it is changed,it's intentional,it's meaning,that you really understand how photo montage exists.

But Rodchenko's virtuoso post production conceals a grim truth,these determined looking workers were mostly political prisoners,and White Sea canal,140 mile long*,and far from being rehabilitated to the labor,200,000 of them would die as result of it.A reality that can still be glanced in the unsmiling faces,the untouched original.

 It's not clear how much Rodchenko knew about the realities  of White Sea canal,but its snapshot of this doctor*,takes around this time,suggests he knew all about the ambiguities of camera's all seeing eyes.

 She is shot from above,and so she's looking up,covering her eyes,squinting up the sun,and then looming above her is the dark shadow of her farther Rodchenko with the camera,and yet all we see of him is this black shadow in this distinct,so this the mastery the vision and blackness and same thing with little girl,that she covering one eye,that she can't see,and yet she is being seen in such a total clearance \in the sunlight,and it seems about the camera itself and this possibility blindness in sight of amplified human vision and always the inability to see.

 While Rodchenko struggle to photograhy on new society,in Paris another photographer was attempting to preserve one about the disappear,*has spent 30 years documenting the city's ancient core ,from backstreet to shop front before was swept away by redevelopment.

1

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实现无障碍英语沟通

hw

 

So if you look at this picture,we can see here,the Rodchenko's book,have the original look,and the green flat across here,the montage,all together most / successful, his picture, / putting in the test,give much more impact for this crowd of workers,and cause this gets more impact,in the way of these given the contrast,really highten that contrast ,to be here and the backdrop.

 

You can see all these different / we've put together to make the,the pictuer,and although look at this you won't think particular montage,it's only when you see the original,and you see the house change,it's intentional,it's meaning,that you really understand how photo montage exists.

 

But Rodchenko's virtuoso post production can seals a grain truth,these determined looking workers were mostly political prisoners,and the White Sea canal,a 140 mile long /,and far from being rehabilitated to the labor,200,000 of them would die as a result of it.A reality that can still be glanced in the unsmiling faces,the untouched original.

 

It's not clear how much Rodchenko knew about the reality of the White Sea canal,but its snapshot of this daughter v/,takes around this time,suggests he knew all about the ambiguities, the camera's all seeing eyes.

 

She is shot from above,and so she's looking up,covering her eyes,squinting up the sun,and then looming above her is the dark shadow of her farther Rodchenko with the camera,and yet all we see of him is this black shadow that is  in distinct,so ther's / of the mastery the vision and blackness and same thing with little girl,that she is covering one eye,that she can't see,and yet she is being seen in such a total clearacy in the sunlight,and it just seems about the camera itself and this possibility blackness in sight of amplified human vision and always the inability to see.

 

While Rodchenko struggle to photograh a new society,in Paris another photographer was attempting to preserve one about the disappear,/ has been 30 years documenting the city's ancient core,from backstreet to shop front, before it was sweat away by redevelopment.

口译专员推荐—>口译训练软件IPTAM口译通

hw

 

哈,晚了一步哦,帮您改成作业了,谢谢参与---sylvai

on Melody_W

 

So if you look at this picture,we can see here,the Rodchenko book, how the original look,and the green flat across here,the montage,all together most successful his picture,had they putting in the text,give much more impact for these crowd of workers,and ** this get more impact, in the way of these given the contrast, really highten that contrast between here and backdrop.

 

You can see all these different components we've put together to make the picture,and although you look at this you won't think particular montage,it's only when you see the original, when you see how it  changed, its attention, its meaning, that you really understand how photo montage exists.

 

But Rodchenko's virtuoso post production conceals a grim truth, these determined looking workers were mostly political prisoners,and White Sea canal,140 mile long*,and far from being rehabilitated to the labor,200,000 of them would die as result of it.A reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

It's not clear how much Rodchenko knew about the realities of White Sea canal,but its snapshot of his daughter Vabra,take a run this time,suggests he knew all about the ambiguities of camera's all seeing eyes.

 

She is shot from above,and so she's looking up,covering her eyes,squinting up the sun,and then looming above her is the dark shadow of her farther Rodchenko with the camera,and yet all we see of him is this black shadow in this distinct,so there are both the ** of the vision and blindness and same thing with little girl,that she’s covering one eye as if  she can't see,and yet she is being seen in such a total clearacy in the sunlight,and it just seems to be about the camera itself and this possibility blindness insight of amplified human vision and always the inability to see.

 

While Rodchenko struggle to photograph on new society, in Paris another photographer was attempting to preserve one about to disappear,*has been 30 years documenting the city's ancient **, from backstreet to shop front before was sweat away by redevelopment.

 

[ 本帖最后由 sylvia_qian 于 2008-7-9 16:04 编辑 ]

On zhongshan2008

So if you look at this picture, we can see here, the Rodchenko's book, have the original look, and the green flat across here, the montage, all together much more successful his picture, he is over putting in the text, give much more impact for these crowded workers, and of course this get more impact, in the way of these given the contrast, really heighten up contrast between here and backdrop.

You can see all these different components we've put together to make the picture, and although when you look this you won't think this particular montage, it's only when you see the original, and you see the how it is changed, it's intentional, it's meaning, that you really understand how photo montage exists.

 

But Rodchenko's virtuoso post production conceals a grim truth, these determined looking workers were mostly political prisoners, and White Sea canal,140 mile long*,and far from being rehabilitated to the labor,200,000 of them would die as result of it. A reality that can still be glanced in the unsmiling faces, the untouched original.

It's not clear how much Rodchenko knew about the realities of White Sea canal, but its snapshot of this doctor Vevera, takes around this time, suggests he knew all about the ambiguities of camera's all seeing eyes.

 

She is shot from above, and so she's looking up, covering her eyes, squinting up the sun, and then looming above her is the dark shadow of her farther Rodchenko with the camera, and yet all we see of him is this black shadow in this distinct, so this the mastery the vision and blackness and same thing with little girl, that she covering one eye, that she can't see, and yet she is being seen in such a total clearance in the sunlight, and it seems about the camera itself as this possibility blindness in sight of amplified human vision and always the inability to see.

 

While Rodchenko struggle to photography a new society, in Paris another photographer was attempting to preserve one about to disappear,*has spent 30 years documenting the city's ancient core ,from backstreet to shop front before was swept away by redevelopment.

 

1

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       Two roads diverged in a wood, and I
                     I took the one less traveled by,
                             And that has made all the defference

hw

改错人了哦,帮您改成作业了,谢谢参与---sylvia

 

So if you look at this picture, we can see here, the Rodchenko book, how the original look, and the green flat across here, the montage, all together most successful his picture, had they putting in the text, give much more impact for these crowd of workers, and cause this get more impact, in the way of these given the contrast, really heighten that contrast between here and backdrop.

 

You can see all these different components we've put together to make the picture, and although you look at this you wouldn’t think it’s particular montage, it’s only when you see the original, when you see how it changed, its attention and its meaning, that you really understand how photo montage exists.

 

But Rodchenko's virtuoso post production conceals a grim truth, these determined looking workers were mostly political prisoners, and White Sea canal, 140 mile long *,and far from being rehabilitated to the labor,200,000 of them would die as result of it, a reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

It's not clear how much Rodchenko knew about the realities of White Sea canal, but its snapshot of his daughter Vabra, take a run this time, suggests he knew all about the ambiguities of the camera's all seeing eye/s/.

 

She is shot from above, and so she's looking up, covering her eyes, squinting up the sun, and then looming above her is the dark shadow of her farther Rodchenko with the camera, and yet all we see of him is this black shadow that’s in /this/ distinct, so there are both the mastery of /the/ vision and blindness and the same thing with the little girl, that she’s covering one eye as if she can't see, and yet she is being seen in such a total clearacy in the sunlight, and it just seems to be about the camera itself as this possibility of blindness insight of amplified human vision and always the inability to see.

 

While Rodchenko struggled to photograph on new society, in Paris another photographer was attempting to preserve one about to disappear,*has been 30 years documenting the city's ancient **, from backstreet to shop front before it was swept away by redevelopment.

 

[ 本帖最后由 sylvia_qian 于 2008-7-9 16:08 编辑 ]
实现无障碍英语沟通

on cocoleilei

 

So if you look at this picture, we can see here, the Rodchenko's book, have the original look, and the green flat across here, the montage, all together much more successful as a picture, he is over putting in the text, give much more impact for these crowd of workers, and of course this get more impact, in the way of these given the contrast, really heighten up contrast between here and backdrop.

 

You can see all these different components we've been put together to make the picture, and although when you look this you wouldn’t think it’s particular montage, it's only when you see the original, and you see the how it is changed, and its intention and its meaning, that you really understand how photo montage exists.

 

 

But Rodchenko's virtuoso post production conceals a grim truth, these determined looking workers were mostly political prisoners, and White Sea canal,140 mile long gulag,and far from being rehabilitated to the labor,200,000 of them would die as result of it.

 

A reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

It's not clear how much Rodchenko knew about the realities of White Sea canal, but it’s snapshot of his daughter Vevera, take at around this time, suggests he knew all about the ambiguities of camera's all seeing eyes.

 

 

She is shot from above, and so she's looking up, covering her eyes, squinting up at the sun, and then looming above her is the dark shadow of her farther, Rodchenko with the camera.

 

And yet all we see of him is this black shadow that’s in this distinct, so there is both the mastery of vision and blindness and same thing with the little girl, that she’s covering one eye, that she can't see, and yet she is being seen in such a total clearance in the sunlight, and it just seems to be about the camera itself as this possibility of blindness and insight of amplified human vision and always the inability to see.

 

While Rodchenko struggled to photograph a new society, in Paris another photographer was attempting to preserve one about to disappear,*has spent 30 years documenting the city's ancient core ,from backstreet to shop front before it was swept away by redevelopment.

1

评分次数

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homework

So if we look at this picture, we can see here in the Rodchenko book how the original looked, rather grey and flat. Of course here the montage is altogether much more successful as a picture. He’s able to put in the text, give much more impact for this crowd of workers, and of course this gets more impact, in the way that he’s given the contrast, he really heightened up contrast between here and the backdrop. You can see all these different components have been put together to make the picture, and although when you look at this you wouldn’t think it’s particularly a montage, it’s only when you see the original and you see how it’s changed in its intention and its meaning that you really understand how photomontaged this is.

 

But Rodchenko’s virtuoso postproduction conceals a grim truth. These determined-looking workers were mostly political prisoners, and the White Sea Canal a 140-mile-long gulag. And far from being rehabilitated through their labor, 200,000 of them would die as a result of it, a reality that can still be glimpsed in the unsmiling faces of the untouched original.

 

It’s not clear how much Rodchenko knew about the realities of the White Sea Canal, but this snapshot of his daughter Varvara taken around this time suggests he knew all about the ambiguities of the camera’s all-seeing eye.

 

She is shot from above, and so she is looking up, covering her eyes, squinting up at the sun, and then looming above her is the dark shadow of her father Rodchenko with the camera. And yet all we see of him is this black shadow that’s indistinct, so there’s both the mastery of vision and blindness. And the same thing with the little girl, that she’s covering one eye as if she can’t see and yet she is being seen in such total clarity in the sunlight. And it just seems to be about the camera itself has this possibility of blindness and insight, of amplified human vision and always the inability to see.

 

While Rodchenko struggled to photograph a new society, in Paris, another photographer was attempting to preserve one about to disappear. Eugene Atget had spent 30 years documenting the city’s ancient core, from backstreet to shop front, before it was swept away by redevelopment.


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hw

“So if you look at this picture, er, we can see here in the Rodchenko book, how the original looked, well, the gray and flat across here, the montage all together much more successful, is a picture, he`s able to put it into the text, give much more impact for this crowd of workers, and of course this get more impact in the way that he is given the contrast, really heightened up contrast between here, in the backdrop. You can see all these different components being put together, to, to make the, the picture, and although, look at this, you wouldn`t think it`s a particular montage, it`s only when you see the original and you see the, how it changed in its attention, in its meaning, you really understand how photomontage this is.”

 

But Rodchenko`s virtuoso post-production conceals a grim choose, these determined looking workers were mostly political prisoners, in the White Sea Canal, 140 mile long *, and far from being rehabilitated through their labor, 200,000 of them would die as a result of it. A reality that can still be glimpsed in the unsmiling faces, the untouched original. It`s not clear how much Rodchenko knew about the realities of the White Sea Canal, but this * of his daughter Varvara taken around this time, suggests he knew all about the ambiguities of a camera`s all seeing eye.

 

“She`s shot from above as though she`s looking out covering her eyes, squinting up the sun, and then looming above her is her dark shadow of her father---Rodchenko with the camera. And yet all we see of him is this black shadow this indistinct so there`s both the * of vision and blindness and the same thing with the little girl, that she`s covering one eyes that she can`t see and yet she`s been seeing as such a total clarity in the sunlight, and it just seems to be about the camera itself as this possibility of blindness and inside of amplified human vision and always the inability to see.”

 

While Rodchenko struggled to photograph a new society, in Paris another photographer was attempting to preserve one about to disappear. * has spent 30 years documenting the city`s ancient core from back street to shop front, before it was swept away by redevelopment.

on fionashen 参考ktdid =)

“So if we look at this picture, we can see here, in the Rodchenko/'s/ book, how the original looked, rather grey and flat across here, the montage, all together much more successful as a picture, he`s able to put in the text, give much more impact for these crowd of workers, and of course this gets more impact, in the way that he`s given the contrast, really heightened up contrast between here and the backdrop. You can see all these different components have been put together to make the picture, and although when you look at this you wouldn’t think it’s a particular montage, it's only when you see the original, and you see the, how it`s changed in its intention and its meaning, then you really understand how photomontage this is.”

 

But Rodchenko's virtuoso postproduction conceals a grim truth, these determined looking workers were mostly political prisoners. And White Sea Canal, 140 mile long gulag, and far from being rehabilitated through their labor, 200,000 of them would die as a result of it. A reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

It's not clear how much Rodchenko knew about the realities of the White Sea Canal, but this snapshot of his daughter Varvara, taken /at/ around this time, suggests he knew all about the ambiguities of a camera's all seeing eye/s/.

 

“She is shot from above, and so she is looking up, covering her eyes, squinting up at the sun, and then looming above her is the dark shadow of her farther, Rodchenko with the camera. And yet all we see of him is this black shadow that’s indistinct, so there`s both the mastery of vision and blindness and the same thing with the little girl, that she’s covering one eye as if she can't see, and yet she is being seen in such a total clarity in the sunlight, and it just seems to be about the camera itself as this possibility of blindness and insight of amplified human vision and always the inability to see.”

 

While Rodchenko struggled to photograph a new society, in Paris, another photographer was attempting to preserve one about to disappear, Eugene Atget has spent 30 years documenting the city's ancient core, from backstreet to shop front before it was swept away by redevelopment.

on  sylvia_qian

 

 

“So if we look at this picture, we can see here, in the Rodchenko book, how the original looked, rather grey and flat across here, the montage, all together much more successful as a picture, he is able to put in the text, give much more impact for this crowd of workers, and of course this gets more impact, in the way that he`s given the contrast, really heightened-up contrast between here and the backdrop. You can see all these different components have been put together to make the picture, and although when you look at this you wouldn’t think it’s a particular montage, it's only when you see the original, and you see the, how it's changed in its intention and its meaning, then you really understand how photomontage this is.”

 

 

 

But Rodchenko's virtuoso postproduction conceals a grim truth, these determined-looking workers were mostly political prisoners. And the White Sea Canal, a 140-mile-long gulag, and far from being rehabilitated through their labor, 200,000 of them would die as a result of it. A reality that can still be glimpsed in the unsmiling faces, the untouched original.

 

 

 

It's not clear how much Rodchenko knew about the realities of the White Sea Canal, but a snapshot of his daughter Varvara, taken around this time, suggests he knew all about the ambiguities of a camera's all seeing eye.

 

 

 

“She is shot from above, and so she is looking up, covering her eyes, squinting up at the sun, and then looming above her is the dark shadow of her farther, Rodchenko with the camera. And yet all we see of him is this black shadow that’s indistinct, so there`s both the mastery of vision and blindness and the same thing with the little girl, that she’s covering one eye that she can't see, and yet she is being seen in such a total clarity in the sunlight, and it just seems to be about the camera itself as this possibility of blindness and insight of amplified human vision and always the inability to see.”

 

 

 

While Rodchenko struggled to photograph a new society, in Paris, another photographer was attempting to preserve one about to disappear, Eugene Atget had spent 30 years documenting the city's ancient core, from backstreet to shopfront before it was swept away by redevelopment.

 

 

感谢斑斑改稿

倒数第二段‘ that she’s covering one eye that she can't see’

此处我重新听和看了视频,觉得从句子意思理解以及说话人的嘴形判断,都是‘as if’呢 ---sylvia

[ 本帖最后由 sylvia_qian 于 2008-7-9 22:03 编辑 ]
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White Sea Canal, 1933 Alexander Rodchenko © Alexander Rodchenko When the Bolsheviks came to power Alexander Rodchenko declared painting to be dead and turned instead to photography. Modern, objective, apparently free from the taint of bourgeois subjectivity, photography showed that it could play its part in the dictatorship of the proletariat. Radical photographic style was combined with cutting edge graphics in a magazine called 'USSR in Construction'. Designed by Rodchenko, it was a showcase of political propaganda glorifying the achievements of the Soviet system. 'USSR in Construction' displays Rodchenko's mastery of photo-montage, a graphic technique that took its cue from cinema montage. Rodchenko's photo-montages treated photographs as raw footage, suppressing their individuality, collectivising their energies, cutting, pasting, re-touching and re-photographing them to conjure up dizzying visions of the future. Rodchenko harnessed photography to greatest effect in an issue of 'USSR in Construction' devoted to the White Sea Canal, trumpeted at home and abroad as a triumph of Soviet engineering and enlightened Soviet penal policies. The canal would be built by criminals and other social undesirables who would be rehabilitated through labour. Rodchenko travelled to the canal to take the photographs that would provide the raw material for this masterpiece of political propaganda.

"We can see in the Rodchenko book how the original picture looked – rather grey and flat. Of course, the montage is altogether much more successful as a picture. He's able to put in the text, give more impact for the crowd of workers and of course the figure in the foreground gets more impact in the way he has heightened up the contrast between it and the backdrop. You can see all these different components have been put together to make the picture and although when you look at this you wouldn't think its particularly a montage, its only when you see the original, and you see how its changed in its intention and its meaning that you really understand how photo-montaged this is."

(Martin Parr, photographer) But Rodchenko's virtuoso post-production conceals a grim truth. These determined-looking workers were mostly political prisoners and the White Sea Canal, a 140 mile long gulag. And far from being rehabilitated through their labour, 200,000 of them would die as a result of it, a reality that can still be glimpsed in the unsmiling faces of the untouched original. Extract from 'Documents for Artists', Genius of Photography (Wall to Wall)
[ 本帖最后由 t0y 于 2008-7-11 15:01 编辑 ]
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