The Wonderland

 ... of Jason Eskenazi! A most definitely known photographer- and for good reason.

Fame And (Mis)Fortune!

I had no idea whatsoever about the torrent of copycat infiltrators Jake Ricker was subjected to at what would mark the forced conclusion of his Golden Gate Bridge project. I can well understand wanting to see him in action, congratulate him, engage in conversation and possibly learn from him- but I just can't even begin to contemplate what was going through these people's minds that they would willingly try to copy his photographs... directly in his presence! How does one even begin to make sense of that- the audacity, ignorance and sheer impudence of such an act? How do their minds (not) work- somehow, someway thinking they can magically glom on to his hard earned work, talent and recognition simply by trying to directly imitate him... right next to him!?! How dishearteningly surreal is that- particularly at such a world famous venue which is both so uniquely public and yet singularly isolated? We're such an utterly flawed species...

Hope he eventually gets his well deserved book deal!

How The CyberTruck Was Designed!

The NYC Landscape

 Photo: © Rob Stephenson

If you're a photographer in NYC, you're a street photographer- unless you got a studio and shoot portraits. What's that... landscape? How many shots of the skyline can one possibly take? 

Obvious questions lead to obvious answers. And deciding what to shoot (and doing it well- the tricky part) is a problem that besets every photographer, especially in an era when anything and everything seems to have been done ad infinitum... But not everyone goes the usual route, assumes the usual role and makes the usual contribution. Brian Rose has presented a more diverse NYC, he has wondered the geographical limits of the five boroughs in search of a more diversified landscape shaped and influenced by its diverse population. Rob Stephenson is also a landscape photographer, defined by the mundane, repetitive and overlooked commonalities that saturate New York's outer boroughs- neighborhoods and communities that don't look anything like Manhattan.

The four boroughs adjacent to Manhattan are anything but scenic (Manhattan itself is hardly... 'beautiful'). NYC is built for expedience and practicality, it sure ain't Paris, not even London, which is at least quaint in parts. Some of it is downright ugly, most of it, just plain forgettable, from the poorest of working class neighborhoods, to its more well to do environs. 

Mr. Stephenson makes the most of these unremarkably ordinary of landscapes with a series of very memorable typologies, memorable for their remarkably diverse feature set within a uniformity of presentation. His Dead End typology features the aforementioned signposts in a variety of industrial, residential and more 'pastoral' settings. The sheer variety and uniqueness of settings is more than I could have possibly imagined. And his Split series is an absolute joy- something I would have never, ever contemplated saying about anything to do twin homes! These banal and usually (intentionally?) overlooked residences pepper the real estate landscape of NY; the very thought of photographing them seems preposterous, laughable at best... who the hell would want to photograph something so overwhelmingly boring and aesthetically dismissible!?

And yet, these home portraits of fraternal, if not identical, twins are absolutely fascinating!  I would have never in my life thought these architectural nonentities could be so endlessly intriguing, so curiously captivating. The not quite mirror images, the minute details that entrance and delight! But that's what good photography and photographers do- reveal the mystery and uniqueness of that which we overlook and undervalue... Can't wait for the book!

 Photo: © Rob Stephenson

Red Eyed

Photo: © Frank Fournier

Had the pleasure of stopping by the Leica Gallery in San Francisco this past Saturday just before closing and picking up Frank Fournier's joyous little book- Red Eye, a beautifully small 8x8in. book of visual poetry. Taken in 70's New York, they do contain a certain amount of nostalgia for this expat New Yorker growing up there at the time when the city was supposedly at its worst... Who knew? We were young. 

The book however does not just rely on nostalgia for its existence. The photos are pictorial paeans to a city so desperately alive, despite its decay. They're contemplative, but acutely representative of the details and rhythm of a city that's forever in motion, filled with the people that create it, regardless of how they feel or what it thinks of them. 

PS- The gallery is currently featuring the work of Patrick Corrigan and Hendrik Paul, and the former's print of a ladder against a tree is one of the most beautiful prints I have ever witnessed in my seventy years... can't stress enough- the jpeg depicted merely hints at the experience.

Photo: © Patrick Corrigan

Punk vs. Street (Photography)

So called "street photography" is still going strong after its initial resurgence over a decade ago, in large part fueled by the concurrent analog revival. The ethos about punk music was that it was a return to rock basics and that you didn't even need to know how to play (an instrument) to do it. Technical and aesthetic expertise is not necessarily required in today's "street photography' either, just have a camera (preferably a Leica).

Forget that the genre has long been abandoned by the upper echelon of the photographic art world (do they still matter, do they still exist?)- it just seems to get more and more popular. Popular to the point where you now have various vloggers enthusiastically sharing their street photography journeys, while opining on their favorite techniques and approaches. And it's all good, except when, except when- they really don't have a clue. I learned years ago never to judge a photographer until you see their finished results, and in my latter years, I consider it wiser and more constructive not to go negative. But sometimes, when they do show their results, their 'successes-' and they're sadly anything but, technically and/or- aesthetically; well then, I think the kind thing to do is to uhhh... kinda let them know- constructively...

Recently, I encountered this one vlogger who I could tell was very earnest and enthusiastic about the medium, but honestly didn't-have-a-clue; so I decided to give a bit of advice, technical (concerning light leaks) and aesthetic, concerning the use of wide angles. Creatively, the issue was fairly obvious- they were too shy to get close enough to their subject to take advantage of what wide angles offer. Everything was in the background in so many of their shots.

It's a problem that plagues most wannabe street photographers, including myself; I'm an introvert, having grown up in NYC however, one learns early in life that you either stand up, or get swallowed up. One day I decided (when confronting a must take opportunity I was hesitating on)- was I photographer, or just someone with a camera on his shoulder; I knew what I had to do, and acted accordingly. But to this day, I still have my bouts of hesitancy- but enough about me... So I offered some basic, and (I thought) well needed advice:

Do you have a light proof changing bag to transfer the film from cannister to loader, loader to cassettes, cassette to film tank? Are your cassettes lightproof? Depending on the type, they can leak at the 'joints' where you disassemble them, or where the felt meets the film...

I love 28 and 20mm lenses; but sorry, even with the former- you're gonna have to get much closer to your subject... whatever it is! It's hard to tell because it gets lost with everything else in your photos. WA's are great to accentuate your subject, but to do that you must get closer to emphasize it, otherwise it-just-gets-lost. Right now, everything in your 'composition' is at equal distance (so Everything comes off as of equal importance)- no separation, no drama, no involvement. Your eye is not being led anywhere!?!? If you want the viewer to get involved... then you must do it first when creating your composition and show the way!

Perhaps get a friend or model, someone you're comfortable with, photograph with the 28 and get as close as you want from every conceivable angle- place them in the foreground (Close!) and see how you can separate them from the background in different environments, practice "layering" with separate things in the foreground, mid and background that all contribute to the story you're telling within the photograph. Then compare the shots you took when at ease with the model, to those you do 'on the street.' I'm betting you'll see a considerable difference- if ya don't, you're really gonna have to study the masters more to get a sense of how they do it. Check out how close Mark Cohen got to his subjects- and with a flash no less!

Also, try shooting from the hip, prefocused from right inside the crowds- study the results, you may find some clues and surprises. Right now, your shyness is preventing your success- it's keeping you at arm's length (make that mile's length) from your subject... there's another good practice shoot- don't shoot anyone unless they are within a literal arm's length!!! That pretty good advice for shooting WA on the street- period! You can do it but you're gonna have to conquer your fear, it won't happen overnight- but it won't happen at all unless you seriously resolve to do it!

I didn't get any response, so it was probably not well received. It was only then that I noticed- same said person was offering their very own "street photography" course- for a nominal fee! Yeah.

Addendum: Got a reply and a love today, didn't totally agree with my assessment(s), but agreed there was some validity to what I said... fair enough.

The Lo-Fi Photo Zine King!

Hamburger Eyes- the brand, the slogan, the B&W Photozine King Y'all! If you're down San Francisco way from now till end of summer- make sure to stop by the main public library at Civic Center, make an immediate right at the main entrance, and down ya go to the Jewett Gallery on the lower level where you'll get a taste firsthand of what Mr. Ray Potes has conjured up in the last 25 years... Congrats!

 A Photographer Walks Into A Bank...

Everything Old Is...

Like everyone, I love looking towards the masters: their work, their wisdom, their legacy. They've been there, done that, shown the way- The Real Deal! And it's always such a joy just to lean back and be humbled and awed; they teach, they enlighten, they inspire!

But sometimes you get to wonderin'- what of the future? Where's the new generation that has the passion, the integrity, the will to put in the work, day in and day out- not just to promote themselves and their goddamn "content," but to contribute to the medium in a way that preserves the best of it, while helping advance it? Watching most photo vlogs by most newbie wannabes is an exercise in self abuse: fledgling salesmen extoling their new equipment choices, revealing 'the secret' to good pictures, or just giving you the low down on anything and everything their year and a half of experience and 'mastery' have bequeathed upon them, and are now willing to share with you... Smash the like button- and buy my presets!

I've already highlighted one such individual (Paulie B.) who breaks the mold with his infectious enthusiasm and love of the medium, and Jared Thomas Tapy is yet another whose love and reverence for the craft, history and art of photography is apparent in every topic he navigates and delves into, whether it's The Decline of Photojournalism (the kid brings receipts!), The Racist History of Photography (doesn't hold back), or Why Film Photography Won't Make You A Better Photographer (lays it out to the letter), one can see he respects the facts, the actual history, and isn't just out to give his personal take- and when he does, it's usually well measured, well researched and well thought out. 

 

Like I said, never tire of the masters- but always great to see a youngblood headed on the good foot...

So True...

All our discoveries and triumphs, struggles and disappointments- gone... All as passingly trivial as a loose snapshot floating in a bin at a second hand store; the love you longed for, the goals you achieved, the losses you persevered and the burning passion that fueled all of it- the cause, the consequence, not even the memory will remain. It is the human experience, renewed and extinguished ad infinitum. 

The camera provides some of us that small confirmation of our own existence. How well we master it, and ourselves, can afford others some passing measure of what intrigued, humored or captivated us. They were our moments, of that which no longer exists, our one step on the uneasy ladder of humanity and existence.

Sound Advice

 

Last Stop- Brian Rose

Recently got my copy of Last Stop by Brian Rose, been a fan since I discovered what will probably always remain my favorite work by him, The Lost Border- with Four Seasons Total Landscaping, a brilliantly conceived, executed (and printed) visual testimony to the area surrounding Mr. Giuliani's errant Four Season debacle not far behind. Mr. Rose is a documentary photographer with a knack for making said work rise above the mere documentary more often than not. The idea of riding the NY subway to its very ends is not a new one to photographers [I don't recall the name(s)], but this is certainly the best effort I can recall. New York City is separated into five distinct boroughs- Queens, Brooklyn, Staten Island, Manhattan and the Bronx. Of course, most people associate NYC with Manhattan, while Brooklyn and Queens are on Long Island (Queens alone is five times the size of Washington, DC), the Bronx the only borough on the mainland and Staten Island, well, I think the rest of NYC thinks it's really part of New Jersey. But I digress... 

New York is far from beautiful, but it obviously has its allure. Rose captures much of its architectural distinctiveness, and when you go to its very end(s), you discover just how truly diverse NYC really is in terms of topography, culture, history and ethnicity. The results speak for themselves, and BTW, although safety considerations are always exaggerated, it does take a particular bit of... nerve to go about the ends of NY, camera gear in tow...

Best price, here; And if you're not doing anything on the 21st, there's an online interview with Mr. Rose- you can sign on for it, free... here!

Jill Freedman

Jill was one of my very first inspirations- never knew she was such a cut up!!!

But I got the fuckin' picture, I got that picture- and it is a winner, isn't it? 
Yes, it is Jill- Yes, it is!

Knowing One's Craft

Anyone interested in seeing these photos has already seen them. The reason I'm posting this video is because Yvonne Hanson does a remarkable job breaking the work down and explaining it as far as: intention, aesthetics and production. She does it in plain language, doesn't hyperventilate into art speak or descend into geometric, compositional graphics. Don't know how she'd fare at dissecting and explaining other genres of photography, but at the end of this video, one has a damn good idea as to why, and how, these portraits succeed, and how Christopher Anderson went about attaining their success.

PS- Good thing they didn't hire Gilden to shoot the portraits!
PPS- Interesting hearing how Mean Meister Miller coyly pleaded for (ready for it)... "kindness," suspecting what would be revealed- and having his very words mirrored back so poignantly...

Subjectively, Objectively Fine!

Andy Adams recently recommended Subjectively, Objective and while it opened up a whole new world of beautiful (somewhat minimalist) landscape photography, it also seemed vaguely familiar. The reason became apparent as I attempted to add it to the blog under my listing of: Magazines, Galleries, Resources, Etc- it was already listed! While Subjectively, Objective is a host of varied, vibrant projects (book and magazine publishing, online galleries, real life gallery, printing service, You Tube channel, etc) all under the capable auspices of Noah Waldeck, it seemed that the blogging endeavor linked to on my blog (since fixed) pretty much ceased circa 2020, and foolishly not looking beyond it, I assumed the whole enterprise dead in the water. I believe Mr. Waldeck does indeed write and update on Substack, Reddit, IG or some such app, social media, dark web medium (all of which I do not frequent)- only a handful of certain fools continue to publish an actual blog these days. Anyway, he most certainly has his hands full with all I've already mentioned, which is most definitely very much active under any definition...

I recently ordered one of the many available magazine/monographs on site (Richard Fraser, Vol 123) for... $8 (+$2 SH) and received a lovely little 5 1/4 x 8 1/4in zine of eleven photos that were finely printed and a pleasure to hold and view- already ordered two more... I mean what can ya buy for eight dollars anywhere today, except for a microbrew- and ya piss that out in a coupla minutes, ya get to keep the zine! The hardbound books also look absolutely fab- wanted to order Observations In The Ordinary, but sold out. Fortunately, Investigations In Infrastructure and Everything Is Narrative also look pretty damn tasty!

Summertime // Love

Photo: Mark Steinmetz

Went to the Leica Gallery in San Francisco for the opening of Summertime // Love by Mark Steinmetz, who is probably the world's greatest B&W photographer currently alive and regularly working (gladly consider options). Frankly, he's not the greatest speaker, and I really don't give two shits- when your photos do the talking, you can be as low energy as ya want. Some of his prints were definitely on the soft side,* something that I hadn't particularly noticed in his books, of which there was also a nice collection of at the gallery. Each is a master class in how to do justice to whatever subject covered: from Chicago to airports to... the one I was particularly impressed with- Summer Camp. I would have to be forcibly assigned to cover such a topic, and then only after rolling my eyes, throwing up my hands and being threatened with the death of my loved ones- BORING!!! And yet, there they were, page after page, photo after photo of incredible, revelatory images... Remarkable! So really, who cares if the guy is low key! 

Finally, while the staff at the Leica Gallery here in SF are refreshingly non-stuck up, it's still so near absolute ludicrous just how many people attending the opening were sporting their brand new Leicas (look-a-me, look-a-me!)- and then actually pointing them at fellow attendees as if they're gonna get the Leica portrait award of the year for their dedication to brand loyalty right there and then... and it's always guys! Give-it-up!!!

*One of the reasons I always found B&W printing so hard was because I like a certain amount of contrast, printing is waaay easier when you print towards the soft side. It's when the contrast finally kicks in that everything begins to border on unmanageable (highlights and shadows with little to no detail that one has to compensate for)- that's when the real problems start. I remember seeing B&W drug store prints as a child and thinking B&W is so cheap looking- because they were so grey and mushy. Wasn't until I saw actual blacks in B&W did I realize it's inherent power, potential and beauty. Grey and white just don't cut it...

After a decade of shooting exclusively in color, B&W almost seems abstract to me now- not that I don't love it any less so. Just still having too much fun shooting color after decades of B&W... 

Three Photobooks

Used to buy my fair share of photobooks, now I tend to get significantly less. One reason is economic, sure- the other, I just want something that is significantly different from anything I already have and have seen, or... it just has to be a degree above that already owned. That said, I'm happy to report there are three books (coming) out that easily fall into one of the above...

One is Last Stop by Brian Rose, photos taken at the ends of each subway line in NYC- which, to be honest, sounds both incredibly boring and fascinating at the same time. "Boring" because that is probably the way it would come out in my hands (so what, it's the end of the line, what's so special about that), "fascinating" in the hands of Rose because he has the track record of coming up with the goods where others wouldn't, and certain to find that which is visually fascinating, in that it is both everyday mundane, as well as delightfully unique and intriguing.

Asa Nisi Masa by Blake Andrews is his first published monograph, and is full of the visual quirks and oddities Blake is so famous for. I still recall the delight I experienced upon first viewing his work every time I look at his work anew. One can feel the joy he experiences in seeing the world from such a delightfully enigmatic viewpoint. Life playing out before you in a series of visual mishaps and serendipities that make it all worthwhile to be out and alive. Much of "street photography" today can be reduced to a bunch of one note visual tropes and formulas, but one never feels cheated with his work- more like rewarded. 

Chicago by Mark Steinmetz is well... what can one say, the guy is a- "master." And for all the baggage the term might carry, the guy has certainly proven it in just about everything he creates, splicing seemingly banal moments of life with a visual assuredness and profundity that... only a master can. Can't go wrong with any of his work, it's that good.

RIP Santo Salgado?

Like anyone else, I too was blown away by Salgado's work- almost impossible not to be. He took B&W 35mm photography to near Biblical heights and proportions- both in terms of subject matter and artistry. An advocate and champion of nature, the environment, the little man and the forgotten...

Which is why I have such trouble balancing that legacy with his acceptance of financial support for his Genesis project from the Vale mining conglomerate- a megalithic, much feared destroyer of everything he stood for! Pitiful little humans that we are, we uhhh... sometimes make mistakes, and even Santo Salgado was capable of- A Whopper! I would hope such a green washing debacle no longer possible in today's art world thanks to Nan Goldin and her tackling of the Sackler family. 

The problem is not the oil companies or mining companies, but the system of life we’ve created.  
-Sebastião Salgado 

Wow! That's one helluva endless loop set in a circular continuum of non-committal eternity...

Approved by the Salgado's (read it and weep):

For Vale, a mining company committed to sustainable development, the Genesis Project is an exceptional artistic illustration of our company’s mission, vision and values, as well as our commitment to the integrated development of the communities where we operate around the world. The project shows that harmonious coexistence between man and nature is fundamental to the planet’s equilibrium, and plays an informative and educational function, encouraging the preservation of nature.

Not only does VALE provide financial support to “Genesis” but also generously donated seedlings from its own reforestation program to Instituto Terra and assisted in the recovery of hundreds of water sources across the watershed of the River Doce.

Jacques Sonck

Jacques Sonck

I recently ran upon this photographer again somehow, someway- after once posting about him on my previous blog, Reciprocity Failure (where most of the accompanying photographs and illustrations were inadvertently removed). And just like the first time, the sheer directness and unpretentiousness of his portraiture stopped me cold in its simplicity and appeal- the kind of simplicity fraught with mystery. The kind of visual poetry one can return to repeatedly and continue to mine both for insight and pure enjoyment...

FWIW...

Many important points are raised here, many of which have been said and heard before- just like the manner of photographs discussed, also equally seen, scorned and praised... for decades. Not to say that this periodic review, or warning, or admonishment is without merit, or that it will attain anything but the usual effect- little if anything. Unfortunately, for all the above to actually evolve, vast economic, social and economic change (for the better) will have to occur... something highly unlikely to occur anytime soon. And that is exactly the reason many continue to take such photos, in a vain, if sincere attempt to alert and hopefully change those injustices that persist- in a manner that persistently proves overwhelmingly futile...