Daily News Building.  Circa 1936.  Ilse Bing.
Grand Street Elevated.  1936.  Ilse Bing.
Circus, Trapeeze Artist.  1936.  Ilse Bing.
East River and Tugboat.  1936.  Ilse Bing.
The Honorable Daisy Fellowes, Harper’s Bazaar, Paris.  1933.  Ilse Bing.
Tour Eiffel, vue du Pont Birk-Hakeim, Paris. 1931. Ilse Bing.
Chair, Champs Elysees. 1931. Ilse Bing.
Die Dacher. 1929. Ilse Bing.
Three men on steps by the Seine. 1931. Ilse Bing.
Carriage, Central Park. 1936.  Ilse Bing.
Self-Portrait in Mirrors.  1931.  Ilse Bing.
From The Independent:"In 1931, Ilse Bing made a self-portrait. Gazing into a mirror, she held a Leica camera up to her eye. The room she sat in to record this moment of solitary contemplation was, like her Leica, utterly contemporary. Its bare walls and wooden surfaces bore the hallmark of the carefully constructed environment of the New European Woman.
Bing was born in Frankfurt am Main in Germany in 1899. She studied mathematics and art history in Frankfurt, and later at the University of Vienna. Though she took up photography for practical purposes - to make illustrations for her university thesis - her talent was soon noticed, and her pictures published in daily newspapers.
By 1929, she was photo-graphing full time, using the new miniature Leica camera to produce pictures which explored the cityscape of pre-war Germany. She worked with the architect Mart Stam in Frankfurt, capturing the burgeoning modern-ism of the new architecture. But, like many Jewish artists, she was soon forced to leave Germany, emigrating to Paris in the 1930s. There she was an instant success, working in photo-journalism, fashion and portraiture.
She was the only professional photographer in Paris to use the 35mm camera exclusively, mastering it with such authority that the respected French photographer and critic Emmanuel Sougez was moved to call her the “Queen of the Leica”.
Both Jewish, Bing and her husband, the pianist Konrad Wolff, were in constant danger as Nazi power increased across Europe. In 1940 they were interned in the Gurs concentration camp, and the following year they emigrated to the safer haven of the United States.
Bing was already well known in New York, and her career continued uninterrupted, with commissions from Town and Country magazine, Two to Six and Baby Talk. Away from the tense excitement of inter-war Europe, she gave up her Leica for the larger format Rollieflex, and her work became bigger, more formal and considered. She began to work in colour, making her own prints and becoming involved in the new technology of colour work.
Throughout the 1970s, 1980s and 1990s her work was exhibited in Europe and the US. The reclaiming of the history of women’s photography in the mid-1980s assured that the careers of European emigrees like Bing and her near contemporaries Greta Stern and Ellen Auerbach became fixed forever as undisputed pioneers of a very new photography.”
(Photograph: http://moma.org/visit/calendar/exhibitions/1041)
Candy Cigarette.  1989.  Sally Mann.
Faces.  2004.  Sally Mann.
Battlefields.  2000 - 2003.  Sally Mann.
Battlefields.  2000 - 2003.  Sally Mann.
Opaque  by  andbamnan