When William Eggleston began in 1965, his experiments with color, good color films existed for 30 years, but were used only by properly Sunday pstrykaczy and advertising photographers, who in times of great crisis chodliwe goods more attractive on average. Naomi Rosenblum in the History of Photography of the World writes that "most creative photographers [...] sharp color treated as unfit for the proper presentation of the landscape, expressing personal feelings and documentation of the prevailing social conditions." 
John Szarkowski in interesting article about Egglestonie wrote that the color was a major complication of the problem has already terribly complicated. More does not necessarily mean better - the color film introduced chaos to the world of photography, which first century of its existence spent on learning how to use shades of gray. Most professional photographers after a frustrating experiment with a new type of film, just came back to the old and reliable black and white film. If you already have to take colorful pictures, they did it without enthusiasm or confidence. 
color problem was solved in two ways. The first was not paying attention to him - color photos were taken as if they were black and white, and the color was just a side effect. These photos by Szarkowskiego were irregular (no because if it were done without regard to color, as black and white, it is precisely this form would be appropriate for them), but quite interesting. second group of photos showed the beautiful colors in pleasing relationship - these photos were just beautiful and so, for example, a presentation of some walls of old buildings, or the beaks of ships reflected in the wavy water. Their miserable fate lay in the fact that, at best, resembled similar but infinitely better, the works of Jackson Pollock (what bryzgał and wytryskiwał) or Picasso's (a little polygons, a pair of functions, little ciapaji - something for the engineer). This was not written directly, but I guess that the problem of these pictures was to some extent the lack of content. Kant wrote (or so says Wikipedia ) that colors are only a "thing of charm," and can not object "to make a worthy or beautiful view."
But now I sit quietly, because I do not know this ... 
not matter - let's assume that Szarkowski knows what he says, was at last from 1962 to 1991 director of the photography department of New York Metro Politan Museum of Modern Art (Moma) and that he actually discovered Egglestone'a. The bottom line is that the color was a problem and if it has already been used, it is rather wrong. However, the beginning of true color photography, the point at which it became an art, is inextricably linked to Eggleston - at least according Szarkowskiego. 
course, this point of view and shown the same photos Eggleston in 1976 Moma, met with criticism. Sean O'Hagen in article "Out of the ordinary" writes that Hilton Kramer, the most conservative and influential American art critic, disagreed with the assertion of perfection photography Szarkowskiego Eggleston wrote: "Perfectly banal - perhaps. Perfectly boring - certainly." Egglestone Sam says: "The translation of them would make no sense. In a sense, would weaken them. People always want to know when something has been done, and where, God only knows why. It is truly absurd. They are at your fingertips whatever they may be. "
What exactly are they? Surely something more than just a directory of things and places by "vulgar, the new postwar America of fast food, plastic and neon." is some mystery in them. Something hidden and inaccessible. Second bottom. An untold story that you would like to hear.
you can just look at them and say, 'Damn, what awesome colors' (and that is enough when it comes to my attempt to evaluate images from a formal point of view:).
writes Sean O'Hagen, art Eggleston is "both simple and loaded meaning, quite simple, but infinitely complex."
Sam Egglestone is extremely interesting and rather eccentric character. He was born in the southern United States and most of his pictures, if not all, have been made right there. He was a lover Viva - the stars Andego Warchola and still is the best friend of Jim Beam and Jack Daniels. What decides what to shoot and when to take a picture?
"Just wait until it appears. (...) I am usually very happy when you get the picture. It is usually exactly what I saw."
"I have no burning need to go out and document something. It just happens when it happens. This is not a conscious effort or struggle. I would not do this if they did. I never speak with the idea of \u200b\u200ba suffering artist. Being here is enough suffering. "
" Generally, for me, a man is not terribly interesting to look at photographs. What it does is more interesting. I suppose that's why my pictures are things or places. It almost never are the portraits. "
