Yesterday I was introduced to the work of Rosalind Solomon. Her photography contains street shots that exist in an unnamed sweet spot: somewhere between candid photos of strangers and posed photos of friends. (What is that called?) The photos suggest the powerful intimacy of the latter, while keeping the subject at arm’s length. The obscurity of Solomon’s relationship with her subjects only strengthens the pictures.
They wowed me.
She shoots black and white, and it’s all Hassleblad, often with flash. The prints I saw were exquisite, in both printing and camera technique; all were unaffordable, but if I were a collector, I’d snap that stuff up. She’s spent a lot of time in South America, Africa, and recently, Poland. Her photos are global, but they’re unified by her consistency of vision and technique. I feel lucky to have had an up-close gander.
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?
- Context for Papageorge “American Sports” Outtakes in HBO Documentary