Mattie Lee

Kathryn Schroder

Photography 1

1 May 2017

William Eggleston: The Life and Works

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

parents and his colleagues.

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

continue to college. While at Vanderbilt University, a friend suggested to Eggleston that he

should invest in a camera. In receiving this suggestion, Eggleston discovered his true passion for
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photography. After discovering photography, Eggleston transferring to Delta State College

(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,

as well as a whole new concept.

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

contains magical. His secret? “Composing WITH color (Jones 2016).”

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.

I personally was drawn to this photo

when I saw this boy. That sounds shallow, but

with the placement of his head, he is the

subject. He is much older fashioned, with hair

that looks seemingly impeccable for a man

pushing grocery carts. His uniform is also

perfectly white and pops against the

background that is somehow light, yet dark.

Overall, this photo shows a variety of

attractive elements.

With all the technical elements, there

is not much to complain about. The photo is

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

exposed. The photo is a bit dark, but not dark on accident.

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

teenage boy in those “golden days.”

I feel that this

photo does a

wonderful job of

capturing the

Peaches!

advertisement sign.

In the south, this is a

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,

and helps the sun create a golden glow.

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

high level of comfort to all.

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This portrait of two girls is very

familiar to anyone who has a close

relationship with their friends. I

honestly feel this photo must reflect

the intimacy and understanding

between two friends, especially since

it is a photo of two females.

I think it also shows the vibrancy between two friends who have an emotional connection. This

photo represents something almost everyone can relate to.

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

friendship than most can do in a photo.

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.

Cunningham, John M. "William Eggleston." Encyclopædia Britannica. Encyclopædia Britannica,

Inc., 27 Mar. 2015. Web. 25 Apr. 2017.

HEILPERN, JOHN. "Out to Lunch with WILLIAM EGGLESTON." Vanity Fair, vol. 50, no.

12, Dec. 2015, p. 121. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&

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

(New York), 03 Nov. 2016, p. 1. EBSCOhost, search.ebscohost.com/login.aspx?direct=

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.