Manuel Alvarez Bravo
Manuel Alvarez Bravo was born on February 4, 1902 in Mexico City. He was the son and grandson of photographer's ands painters. When Bravo was just an adolescent the Mexican Revolution had begun in 1910 and lasted through 1920. Bravo can remember running over the hills in Mexico to find a dead soldier just lying their abandoned. During the Revolution nearly one million Mexicans had died due to starvation and fighting between rebels struggling for power . Throughout his twenties Bravo worked as an office boy for the Mexican Treasury Department and did a variety of other things for them until he quit on 1931. His first photography teacher was a man named Hugo Brehme. From Brehme, Bravo learned how to blur through darkroom techniques. Bravo bought his first camera when he was twenty-four years old. Bravo can remember exactly where he got his first camera, "I bought my first camera from a firm called Islas Hermanos" . Bravo also bought a Verito lens, which diffuses the scene before it, and learned the oil-pigment bromoil developing process, which gave photographers something of the blurred color surface of paintings . Bravo played around with abstract images of folded paper. Next he begun to photograph pai
I have returned to my country and I am content with my country: good, bad-and worse than bad -still I am enchanted by my country" . I think that if he did not name his pictures they would not be as interesting as they are. Grasping the meaning of a photograph he suggests involves looking into hidden recesses that may escape the eyes of a casual observer . His pictures have a way of drawing you in making you fell as though you are there. A light is shining on the right side of the woman's body, "pulling her out of darkness" . There is a lot of detail even though it is only of a woman. For a moment, paths intersect on a city street, sometimes acknowledged but often not . This picture is of four men ridding their bikes through what it looks like a desert. Bravo is one of the most famous Mexican photographers of his time. In this picture I want to wait and see if the two people interact at all with each other. Many of Bravos pictures are of village life and street vendors and fisherman showing the culture of Mexico. This picture shows a man and a woman walking past one another with a huge wall behind them, and laundry hung on top of the building that is hidden behind the wall. Instantaneous and slowly (slow minded): lens of revelations. Remember that Bravo was shaped by the pressures of the post-revolutionary years, when to be modern meant to make an art devoted to public purposes, one in which the consuming subjects were the worker, the peasant or any of the immemorial native cultures of the interior . I try to see everything in that landscape" .
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Acceptance Essays
