William Eggleston - The Life and Works
William Eggleston - The Life and Works
William Eggleston - The Life and Works
Kathryn Schroder
Photography 1
1 May 2017
During the beginning days of photography, pictures rarely came in a color other than
black and white. These images seemed the norm for serious photographers. However, one
photographer happened to think different. This photographer, William Eggleston, grew into a
pioneer of realistic photography since the late 20th century. Throughout his life, both young and
adult, William Eggleston broke all the rules. Eggleston chose a new format for his art and
changed the photography world, instead of following the expected path paved from both his
Eggleston was born to plantation owning parents on July 27, 1939- the end of the Great
Depression. Throughout his childhood, Eggleston always went in pursuit of the arts. He grew up
playing the piano, drawing, and finding visually pleasing images. Since his father enlisted for
World War II, most of Eggleston’s childhood memories involve his mother and his travels back
and forth between Sumner, Mississippi and Memphis, Tennessee. As decided by his
grandparents, he transferred to boarding school. When, at the age of 15, Eggleston enrolled at
Webb School, Eggleston’s introverted artistic behavior made him a metaphorical outsider to his
peers.
Even while loathing the Webb School (and school in general), Eggleston decided to
should invest in a camera. In receiving this suggestion, Eggleston discovered his true passion for
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(Delta State University) and the University of Mississippi at which neither would he get a
degree. Here Eggleston saw the art of two major influencers of his work: Walker Evans and
Henri Cartier-Bresson. From there, Eggleston blossomed into his own new style of photography,
Before Eggleston’s works, serious photographers shot in only black and white, as well as
of very concrete objects. New York Times once called his gallery at the Museum of Modern Art
“the most hated show of the year (Lacayo 2008).” According to himself, art critics generally “a
[are a] sorry thing (Helipern 2015).” It for the best that he does not see critics as an issue; he
seems to take it quite lightly. Eggleston continued to do colored works on everyday items.
Eggleston developed his own unique style with several defining characteristics. One particularly
mentionable aspect: Eggleston takes only a single shot of his subject. He did not always start out
taking one shot. As to how he got to one shot? Well: “I would always notice it was impossible
for me to figure out which was the best. I said, well, why the hell take more than one? So I
started just doing one and then moving on and not worrying about whether it worked or not.
(Belcove 2008).” In addition to one shot photography, he sees himself as “at war with the
obvious. (Eggleston).” Everyday items became his forte, which puts him “truly at war with the
obvious (Eggleston).” He continuously finds ways to make a random object seem as though it
All in all, Eggleston taught himself an unmistakable way with the camera. He can take
almost anything and make it seem from another world. Ironically, Eggleston might exist in his
own world. From rejecting his parents hopes for him to go into concert piano or to take over the
plantations, to breaking all known rules of photography, to associating with many women and
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many drinks, Eggleston practically refuses to follow the rules. Even the rules that remain
unspoken for his age need not apply. The use of color, as well as the use of everyday items
scream to see usage, and these techniques can easily become incorporated into any
photographer’s art.
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Following are critiques of some of Eggleston’s images, which are gems of the Southern life.
attractive elements.
correctly focused. There is a perfect amount of blur to make the man pop, but also to add context
of a suburban neighborhood. I do think the glare that comes slightly from the woman’s glasses
was unintentional. The colors are all very accurate, but I think the center has more of a golden
glow. Lighting is always a gamble and Eggleston is a winner. Sun glowing from the center right
on the boy’s face adds a feeling of the time period. Lastly, I think this photo is a bit under
Knowing that this was his first color photo, I can assume this is not a random subject.
Even if I did not know I would assume it was not random. You could focus on a lot of other
subjects in a grocery store parking lot. To reiterate the colors, it is a very sunny scheme. All the
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colors are light. The most predominate colors to the eyes are the green of the buggy, and the
white of the clothes. Additionally, the golden orange is an eye-catching color as well. Our
grocery boy perfectly aligns with the rule of thirds, creating a full looking image even if the left
corner seems empty. Emptiness is negated by the shadow. Lines on the buggies seem to be a
leading line to the boy. Additionally, the whole photo frames our boy.
Overall, there is nothing I would change. If I was being very nit picky, I would like to see
the woman different. Her glasses glare and direct look at the camera can be passed off as
watching the boy, but she is definitely watching Eggleston. I would also like to see this photo in
a wider angle, but that is a personal preference in order to compare and add more context. This
photo covers the young teenage boy in such angelic light that it is a perfect representation of a
photo does a
wonderful job of
capturing the
Peaches!
advertisement sign.
common sight.
However, Eggleston seems to have somehow made it better, brighter and more loveable. This
photo is very homey and comforting. It is the sign on any South Carolina or Georgia road. These
are the kinds of signs everyone has seen for a roadside stand of peaches.
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How Eggleston manages to make his photos so clear and vibrant is unbeknownst to me.
The colors in this photo appear almost as they would normally, but they are just more intense and
saturated. This is one photo in which the rule of thirds is almost ignored. The signs are almost
perfectly centered. Since they are bottom center, there is an element of variety. That clump of
dead animal//leaves/other debris/? comes across as a spot that could distract. While it is not
colorful, the fact you cannot tell what it is is a distraction. As for the lighting, we see Eggleston
continuing to use the golden hour of sunset. This photo is again bathed in golden light, with the
sky just dark enough to indicate a setting sun. His exposure for this photo is on the brighter side,
I do not think Eggleston intends to take a photo of anything ever. His subjects are often
things you just see when you drive down the road. While the subject is deliberate and clear, I do
not think he has ever woke up knowing exactly what to photograph. His love of color seems to
be reflected in this as well. Given the colors are so vivid, they seem less comforting than they
would be in person. Since this is a photo from the Museum of Modern Art, the colors may be
enhanced but they still do not create an overarching color scheme. As for the composition of this
photo, I do not think he could do much more. The image seems straight forward in the way it
portrays its message. Overall, this is a golden example of every southern road that portrays a
I think it also shows the vibrancy between two friends who have an emotional connection. This
In the technical aspects, this photo is an A+ student. Eggleston has once again made
excellent use of the rule of thirds, as the girls lay on the outer third lines. There is also enough to
make the empty space interesting. Focus wise, I feel one cannot get a crisper photo. The textures
are almost felt in looking at the photo. The colors are a different venture than the two photos
before this. Instead of all over color, the background of the wall and the couch are duller. The
girls are clothed in very bright colors, and that fulfills the color aspect of Eggleston’s work. The
lighting is very bright in this photo, and while it does make the photo come off overexposed,
there is a balance between the light and exposure that reflects the details. I also feel the bright,
over exposed feeling may be from the overhead lighting that is probably florescent house
lighting.
The subject matter in this is purposeful, as I do not think you could have focused
elsewhere or found a more meaningful pose. The colors also seem to do the job of “framing” the
girls. I think more accurately would be the fact they pop, but that does not do this photo justice.
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Overall, it is hard to do this photo justice. He has done more justice to the intimacy of a
Works Cited
Belcove, Julie L. "William Eggleston." W Magazine, vol. 42, no. 11, Nov. 2008, p. 326.
EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,cus
tuid&custid=s8455861&db=f6h&AN=35478561&site=ehost-live&scope=site.
HEILPERN, JOHN. "Out to Lunch with WILLIAM EGGLESTON." Vanity Fair, vol. 50, no.
AuthType=ip,custuid&custid=s8455861&db=f6h&AN=110930082&site=ehost-
live&scope=site.
Jones, Malcolm. "William Eggleston: The Father of Modern Color Photography." Daily Beast
true&AuthType=ip,custuid&custid=s8455861&db=f6h&AN=119255506&site=ehost-
live&scope=site.
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Lacayo, Richard. "Light Fantastic." Time, vol. 172, no. 19, 11/10/2008 The Choice, pp. 121-123.
EBSCOhost, search.ebscohost.com/login.aspx?direct=true&AuthType=ip,custuid&cus
tid=s8455861&db=a9h&AN=35052144&site=ehost-live&scope=site.