(An update to this post is now here.)
Thames & Hudson book designer Johanna Neurath posted a picture last week of a proof of their new title “Street Photography Now”, by Sophie Howarth and Stephen McLaren, which will arrive later this year.
For context, here’s how a few of the images looked in the doc (which is great, and worth seeking out – it’s scheduled to air again in February):
Tod Papageorge knows how to get out the word. Here’s Winogrand at MIT in 1974, with a link to download a friendly mp3.
Big ups to anyone who wants to transcribe this so it’ll be available textually, too. Or is that on my plate?
The real question this morning is What The Heck is in Grace Coddington’s office at Vogue, as seen in The September Issue. Did Vogue recreate Winogrand’s Central Park chimp shot? Was it ever published? Which of you fashionistas has the goods? Share, please.
More Winogrand on 2point8.
In addition to all the great things happening in London these days, it’s getting hard to keep up with all the police nonsense; under the guise of terrorism, photographers are being repeatedly hassled and arrested by coppers, and the smart ones have been videotaping their encounters and quickly routing these episodes to the media.
There was a rash of articles in the newspapers last week while I was there, including this cover story in the Independent. The day after this story appeared, Scotland Yard’s Paul Yates said cops shouldn’t arrest photographers under the “everything and everyone with a camera is suspicious” (my air-quotes) clause of Section 44.
Yesterday, there was another video posted, this time by an Italian art student who was thrown to the ground back in November for photographing around Paddington Station.
It’s pretty clear how overreaching the cops are with Section 44, but the arrests seem to me to be less about targeting street photography than the overall erosion of privacy in contemporary London following significant terrorist attacks. Wouldn’t you expect that the most highly surveilled city in the world (4.2 million cameras in 2002) would be the first to crack-down on those who want to use their own lenses? Isn’t surveillance (via CCTV) another way of saying “we’ve got you covered, put your camera away”?
Like the Italian artist in the arrest video, there’s got to be a lot of creative potential in making art about CCTV itself, I imagine. How many pictures could a photographer make of CCTV cameras in London before getting arrested? Who’s willing to try? (The making of the pictures would be more interesting than the pictures themselves, I suspect.)
More up-to-date links on the photographer/terrorist issue in the “I’m A Photographer, Not A Terrorist!” group on Facebook.
A long, new interview with Tod Papageorge on foto8:
“We truly live in Plato’s cave now in America, a reflected world of screens and monitors and second- or third-hand experience. At least the crowds filling my pictures from 1970 were out in the world, and, in their fashion, savoring it.”
“I guess the only thing I’d insist on, however, is that I was the first photographer I knew (after maestro Brassaï) to pick up a 6×9 camera and work seriously with it, before it became relatively common to do so.
I don’t know what Ms. Zoe Strauss is up to, but this print, presented this way, in this location, looks just about perfect.
A few years ago over mezcal in the DF, Mark Powell and I were talking about how he should be teaching photography workshops to folks who want to learn a lot while experiencing one of the most incredible cities on the planet.
Really happy to see that Mark’s now doing this; he’s debuting two workshops this fall; one in September, and another, in the midst of the Day of the Dead celebrations, in November.
If you like shooting but want to immerse yourself in something beyond what’s familiar, do yourself a favor and sign-up. I can’t think of any photographic learning experience that would/could be better than this. Check it out!
If you haven’t seen it, check out today’s “Wanted in Iran: The Photographs” for a look at how the Iranian regime is doctoring photographs of street protesters to strengthen their own authoritarian grip. Grisly and chilling.
The unreleased Olympus E-P1? Engadget has the details.
I received this card today announcing the new Purple Martin Press publication of Peter Kayafas‘ photographs of America called “O Public Road”. Some of the work was shown at Sasha Wolf awhile back. More here.
On the flip-side of the card was notice that the book’s essay was written by Allan Gurganus, who’s not a shabby writer. But even more interesting was that the book comes with a song by Eef Barzelay. I’ve listened to music by Eef’s band Clem Snide over the years, and generally like his sound a good bit — and when looking at the card, and the front picture of an RV parked lakeside, I could imagine how a song from Mr. Barzelay might fit the book.
Did I tell you how awesome it is that there’s a song (an original one, I hope!) that comes with the book? How excellent is that? (Not just because there’s a song, as a singular, purchasable thing – oh great, I have one more song that I had yesterday – but that a musician has created something to complement (and counterpoint?) some of the ideas represented by the photographs in the book. What a fantastic idea.
Go, if you can. I wrote an “Off the Page” essay about a Papageorge photograph from “American Sports” that can be found in a back issue of 8 Magazine.
My friends at collaborative online photography space mus-mus.org are looking for your view of Paris. Deadline is July, 14th.
“As with @600 Mus-Mus will strive to use the ease and power of the web combined with the talents and camaraderie of the global photography community to develop a striking online archive of images. This time the focus is around this singular place, Paris, as seen through the vision of photographers from all parts of the world.
It is fitting that Paris, lovingly called “The City of Light” should have been one of the first and most thoroughly photographic and photographed places on earth. The list of Paris’ photographers runs from Daguerre and Nadar to Brassai, Doisneau, Cartier-Bresson and from Atget to Man Ray, Kertez and Klein and many more, a remarkable number of photography’s greatest artists made their mark ‘a travers’ Paris. Their photographs and publications have fixed in our mind’s eye a vision of Paris that is beautiful, often as edgy as elegant, and always complex.”
I’m not one who likes art because of the “hardcoreness” of the maker, but really folks, this is as hardcore as it gets:
Remember, I came to the USA with only $40. That money lasted for five years due to the American hospitality, but would not have been enough for a camera. The films I financed from selling blood plasma twice weekly paying $5 each time, although I hitchhiked 16 times to the blood bank in New Orleans, where they paid the highest in the nation, $6.10.
I didn’t know anything about the Festival since photography never interested me. Photography was for me only a tool for social change. I was just told that you present me as “historical figure”, which made me laugh since I am extremely well known in Denmark for my present social activism for speaking up for our ghettoized Muslim population in the same way I, for 34 years, have spoken up for the black ghettoes in American universities. My slideshows usually last five to six hours or a whole school day—or in American universities five hours in the evening followed by my racism workshop next day. It is now for the first time digitalized. The first two hours of it can be seen on my website.
I had several offers from American publishers in the ’80s, but realized that none of them had a single black high-level employee. So instead of supporting such of institutionalized racism, I decided to publish my book myself in order to let the people photographed in my book sell it along with the homeless and street people in the ghettos. Soon I had a whole network of homeless, criminals selling my book in many of the big cities as an alternative to selling dope. Although I didn’t make much money, three of my street sellers were killed before they paid me off.
If you make an audio recording of tomorrow’s lecture, please share it. Thanks!
Obituary for Helen Levitt in today’s New York Times.
“At the peak of Helen’s form,” John Szarkowski, former director of the photography department at the Museum of Modern Art, once said, “there was no one better.”
Hey, can someone please start a photoblog that’s about rephotographing, on a global scale? Something that takes a look at familiar and famous photographs, and accounts how they’ve been rephotographed, since? It’d be an easy enough task, on tumblr or wordpress. I’ve seen quite a few posts over the years around the topic, and shoot, there’s even a Wiki page to get you started!
Blake has a new one of Shore/Ulrich. I saw a few over here awhile ago. There’s a Jeff Wall one, and one of my own from a few years ago of a Shore picture from El Paso, below. There are larger projects, like the Bernice Abbott “New York Changing” project and there’s the Kertesz train that appeared in Genius of Photography.
I haven’t seen a comprehensive, myopically obsessed gathering of these. Anyone willing to bet whether this is being tackled already on flickr? Let us/me know! If you start the thing, please leave a comment so we can keep an eye on what you find.
NYTIMES Fashion/street photographer Bill Cunningham, profiled in full in the print version of the New Yorker, had a quote about hemlines and looking for fashion that sounded a lot like a wider statement about his approach (and the approach of many) to street photography.
“You watch, you’ll see something. There’s the old saw about hemlines. Who knows? It’s only in the future you can know. You just have to stay out on the street and get it. It’s all here.”
“I remember I was in class with Thomas Roma and he was the one that made me realize that this was a big problem. He was critiquing some portraits of old people I made in the street with a 6X9 camera and he bluntly asked me if those photos were interesting enough to make me leave my naked girlfriend in bed in order to go out and make them. They weren’t – to a 19 or 20 year old male not much was – but I got his point. That’s when I started photographing in nightclubs and looking at my own lust and that of others. That’s the time my pictures became more about my interest and ultimately about me. Things became very interesting after that.”
This just made me laugh. Cheers, Errata.
Thursday, Feb. 26th, is the opening of Mark Powell’s first solo show in Mexico, “Home of the Brave“, featuring photographs of Detroit and Mexico City. The opening’s in Mexico City. If you’re there, you probably already know about it. If you’re not, check out the interview w/ Mark about the show.
Ironic that we’re having our own Open House for our color darkroom on Saturday, which is (apparently) the only place of its kind in the southeast United States. Know any other artist-owned/artist-run color darkroom spaces?
It’s probably just me, but I’d love to see a magazine filled with “celebrity photography”, in which celebrities turn their cell-phone cameras on their adoring fans, critics, and the paparazzi. The more pixelated, the better, no?
© Lance Armstrong, at the Tour of California
Met photographer Richard Renaldi yesterday at the artist’s talk he gave about his new exhibition “Fall River Boys” at Jackson Fine Art. “Fall River Boys” is a project of street portraits of young men in Fall River, MA, that took Renaldi nine years.
Richard Renaldi @ Jackson Fine Art
The silver gelatin prints from Renaldi’s 8×10 draw you in, and draw you back. Their clarity and substance was remarkable. “Javie and Omar, 2004” below, is a large print in the show, and it just glows.
Richard and his partner have started a new imprint, Charles Lane Press, of which “Fall River Boys” is the first title, and it was released on Friday night. If you care about photobooks, and the quality of the plates and printing; check it out.
So glad to see work by a photographer who’s engaged with making fantastic prints, high-quality books, and great pictures. It’s a rare triumverate. Keep up with Richard and his latest work via his blog, ok?
“In both the books and the exhibition, you can sense Mr. Graham’s dissatisfaction with traditional photojournalism. His solution is imperfect; it forces the photographer into the role of editor, which doesn’t always work. But it acknowledges that the way we experience photography is changing, through slide shows, vast archives sifted and sorted by tags and key words, and ease of access to video.
In other words, the photographer setting out on the American road must obey the rules of the information superhighway.”
– Roadside Reflections on Your Land, My Land – Karen Rosenberg