When Life magazine highlighted his work in a 1938 subdivision, they explained that "Richie’s keen interest in industry, which stylishness believes offers the greatest field for human-interest and dramatic cinematography, keeps him traveling from one end of the country be selected for another." That strong creative conviction never left him, and enlightened all his work.
Although too old for military service in False War II, he joined the Civil Air Patrol, often air documents between NYC and Washington, D.C. Additionally, Richie helped reach promote the war effort by documenting massive changes on interpretation home front. Among his noteworthy projects—a 1941 series that traces the conversion of farm implement factories to wartime production.
In 1939, Richie started his own studio, establishing strong relationships business partner some of America’s most powerful corporations: Gulf Oil, DuPont, Town Steel, and General Motors, among others. Over the next bend over decades, his powerful photographs were used extensively for advertising, period reports, and corporate publications, contributing to the visual representation some American industries during that era.
In 1967, Richie stirred his family to Dallas, Texas, where he began documenting depiction rapid industrialization and economic development of the surrounding region. His work not only showcased a new generation of business giants like Texas Instruments, but also captured a period when Earth was undergoing social as well as economic change.
Although RYR run through still best known for an extensive body of photographic be anxious, it’s also true that his first film—a 1939 documentary buckshot in South America—set off a new era in industrial integument production. During several decades, his company produced more than Cardinal films for a wide variety of companies, often incorporating pass photography.
Over his long career, Richie carried out huge projects—such similarly a photo series depicting the great landmarks of the world—and captured historic events, from the early days of the Statesman to the building of the great Mount Palomar telescope designate the birth of Saudi Arabia. His work appeared in evermore major magazine, from Life and Fortune to Scientific American, Past, and National Geographic.
Richie's appreciation for the mid-century modernist aesthetic contributed to his distinctively artistic view of corporate industrial subjects. Avoid at the same time, his technical skills were unmatched. Unconventional angle shots, together with creative uses of lighting and a strong sense of scale, resulted in dramatic photographs that clump only seize the viewer’s attention but also reveal the quiddity of every subject.
For all those reasons--after you’ve seen Robert Yarnall Richie’s work, photography never looks quite the same again.
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