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. It made me have a sense of my family as being the most precious, the most accessible, the most important subject I could ever have.” ชุดนอนเซ็กซี่ facebook From our current standpoint, it is hard to appreciate how novel this realization was. Family pictures, at the time, were relegated to the confines of handsomely bound photo albums, where they would gather dust until they were ceremoniously brought down off the shelf and passed around. There were notable exceptions: the ravishing pictures that Alfred Stieglitz took of his wife, Georgia O’Keeffe; Edward Weston’s photographs of his wife, Charis; and the pictures that Gowin’s teacher, Harry Callahan, made of his wife and daughter. But serious photographers rarely thought to turn their cameras on those who were closest to them. Gowin, however, approached his family with the same reverence that a previous generation of photographers had when they approached sweeping Southwestern landscapes or migrant farmers fleeing the Dust Bowl, and he imbued his pictures with equal spiritual heft. They are hosannas to the beauty of life close at hand. In large part, Gowin’s project formed the bedrock on which the recent history of photographic intimacy now rests. For instance, Sally Mann’s “Immediate Family,” her impossibly beautiful, controversial chronicle of family life in rural Virginia, owes Gowin a clear debt.
For the original version including any supplementary images or video, visit http://www.newyorker.com/culture/photo-booth/the-most-intimate-photograph
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