Category Archives: street photography

Henry Wessel’s Western Light

In “Santa Barbara, Calif., 1977,” Wessel took a picture of a man standing on a lawn staring at a flock of birds in flight. Wessel had been standing at a bus stop at the time. “As I approached this scene, the birds were feeding in the grass,” he said. “Startled for some reason, they took flight. I instinctually shot, exposing three frames before they were gone. When I look at it now, I marvel at how much of the world is hidden in the flux of time.”

Henry Wessel Jr. (1942-2018) grew up in Ridgefield, New Jersey. He studied psychology at Penn State University, graduating in 1966. After he came upon Mr. Szarkowski’s book “The Photographer’s Eye” and through it discovered the work of Eugene Atget, Robert Frank, Lee Friedlander, Wright Morris and Garry Winogrand, he abandoned psychology and pursued photography. Wessel’s photographs are deceptively simple, yet there’s ‘something’ contained within them that, while inarticulable, is noticeably present. Like all good visual art, there’s a tension contained within it, something that requires the viewer’s imagination to complete.

Wessel moved to southern California in 1969. He was fascinated by the western light from the moment he arrived in Los Angeles. “I walked out of the airport into one of those clear, sharp-edged January days,” he said. “The light had such physical presence; it looked as though you could lean against it.” That physicality of light is a feature of so many of his photographs.“The high Western light that fills his pictures seems almost hallucinatory,” Tod Papageorge, former director of the graduate program in photography at Yale, wrote in an email to The Times in 2006. The Curator Emerita of Photography at the San Francisco Museum of Modern Art, Sandra Phillips, described his work as “witty, evocative, and inventive… distinctive and at the same time a component part of the great development of photography which flourished in the 1970s.” 

Wessel headed the photography program at the San Francisco Art Institute, joining its faculty in 1973. He advised his students that after they took their pictures, developed the film, and printed the contact sheets, they should put them away for a year. “If you let some time go by before considering work that you have done, you move toward a more objective position in judging it,” he said. “The pleasure of the subjective, physical experience in the world is a more distant memory and less influential.”

According to Wessel, the most important photographic choices were “where to stand and when to shoot,” followed by keeping technological choices to a minimum. Learn to use one camera and one lens. By limiting your tools to a single camera – a Leica M with 28mm – your sense of how light translates to film, and then to paper, would become instinctive. Mr. Wessel was never without his Leica and always alert to what was going on around him.“Most musicians I know don’t just play music on Saturday night,” he told The New York Times in 2006. “They play music every day. They are always fiddling around, letting the notes lead them from one place to another. Taking still photographs is like that. It is a generative process. It pulls you along.”

Help a Brother Out, Part Deux

A few days ago I asked whether anyone would be interested in buying a book of pictures taken out of my car window. I figured I could guilt-trip a few of you into buying one. Surprisingly, between reader’s comments and private emails I’ve had over 70 readers request a copy and numerous folks asking for more than one. That’s really nice of you, and I truly appreciate it.

I’m not in this to make money. I’m good, thank you. What I am interested in is getting my work out there to people who might enjoy it, or learn something from it, or teach me something about it. My sole criterion in putting together the book is quality; quality of the photography and quality of the physical book itself – not some shitty POD book but a professionally done work that highlights the best of almost 50 years of snapping photos from the car. No throw-away images to pad out the work – I started with over 200 photos and edited down to +/- 80 final images. The criteria for inclusion of a given photo were three-fold: 1) does it work standing on its own; and, if so, 2) does it work as part of a larger narrative; and, if so, 3) is there a logical place within the sequencing where it maintains these two strengths? If I could answer Yes to all three questions, it’s in the book; if not, even if it’s a great single image, I tossed it. I tossed a lot, under the theory that usually less is more.

Much of it is film photography, much of it taken with a Leica of some sort, but that’s not the point. The point is to present traditional B&W photography that depends not on technical gimmickry but rather on the strength of the images themselves and what they both denote and connote, both as stand-alone works and as they’re sequenced into a loose narrative. I say ‘loose’ because photo books that focus too tightly tend not to interest me past a cursory viewing. The photobooks I keep coming back to – masterpieces like Mike Brodie’s A Period of Juvenile Prosperity – respect the viewer enough to allow him/her to create the narrative. For the same reason, there won’t be much text. You get enough of that here. In this sense, it aspires to be “Leica photography” in the best sense – quick shots caught on the run that say something, less dependent on technique than the photographer’s vision. If you’re looking for a photobook pimping for Leica or purporting to highlight the strengths of the Leica camera or optics, go elsewhere; this ain’t it. It’s not about the camera; it’s about the images.

Trim size will be 10×8 inches (width 10 inches, height 8 inches), paper heavyweight photo stock quality, sewn bindings, linen hardcover, +/- 120 pages with +/- 80 Black and White photos reproduced via CMYK printing. I’m making a limited edition run of 80 copies.

Price of the book will be $35/shipped within the US, $45/shipped worldwide.

I’ve started a “GoFundMe” site here, where you can contribute. Your contribution there will serve as your payment for the book itself. Of course, if you want to contribute less than $35, you’re welcome as well, but that would be sort of stupid because you wouldn’t be getting the book. Of course, you’re welcome to contribute as much as you want, but I don’t expect it and, if you’re feeling remarkably generous and contribute, say, $350, I’m sending you ten books.

I’ve seen proofs of a mock-up, and, it’s pretty good, not to blow my own horn or anything. It works. The last thing I’m going to do is send out bad work. Who knew photos out car windows could be so cool?

Help a Brother Out

Above is a dummy copy of the cover of a book of b&w photographs I’m intending to publish. The tentative title of the book is Car Sick. The book’s premise is simple: it will contain photographs I’ve either 1) taken from my car, or 2) got out of the car to take i.e. it’s a view from the car. Specifically, it’s a view of America from the car.

While containing an introduction written by a third party, it will be minimal. There will be minimal text throughout, as I find photo books that tackle and pin their subjects via forced explanation to be of minimal interest. The photos will be sequenced and presented in a manner that suggests a narrative, with appropriate design and production to allow the message to be accessible to the viewer…but you’ll have to work too. My intent is to engage the viewer visually, emotionally and intellectually with a mixture of beauty, banality, sentiment, and formal abstraction.

  • The book will be +/- 140 pages with +/- 80 photographs.
  • Trim size will be 10 inches (width) x 8 inches (height, spine)
  • Photo printing: 4-color on 80# matte Titan white, 510 PPI.
  • Pages: 10 pt C1S/heavy white stock (120gms) with matte layflat lamination, bleeds, prints one side only.
  • Cover: Hardcover linen with jacket
  • Spine width: 0.2901 inches
  • Binding: PUR perfect section sown bind.

I’m not thinking of the work as a ‘book of photos;’ rather the book, the physical, three-dimensional object, is the work. Physical quality – how the book itself appears and feels – will be of paramount importance. This won’t be a POD (“print on demand”) or standardized ‘Blurb’ book; the type of book cannot be arbitrarily chosen and then the content stuck into it. The book will be a thoroughly considered production – content (editing and sequence), the mise-en-page, choice of paper stock, reproduction quality, text, typeface, binding and jacket design all considered in how such choices interact to produce the finished work.

After much back and forth, I’ve decided to self-publish i.e. I’m not going to hire a book agent to solicit a Publisher and jump through their editorial hoops for a limited production run when the internet offers me considerable resources as a self-publisher.

It will be produced by Bookmobile Printing in Minneapolis, which produces fine-art books for museums and galleries among others. I chose them for the following reasons: First, books are their only business. They are artists immersed in the world of books, and every single step of the process (with the exception of the manufacturing of the metal dies for foil stamping and larger hardcover runs) is done in house. As such, they are able to carefully oversee each element of book production and constantly maintain the highest quality standards.

*************

Defining the audience for a photo book is incredibly important when soliciting potential publishers. In fact, it may be the most important factor. I’ve got a built-in potential audience for the work, a function of cranking out this blog for 6 years. As such, self-publishing makes sense. Most aspiring photographers make the mistake of assuming their potential audience much larger than it in fact is. In truth, small fine-art publishers often print runs of 500 copies or less, with recognized masters selling, at best, 3000 copies. This is especially true of idiosyncratic subject matter like photos out of car windows.

Who is the book’s audience? You. Readers of Leicaphilia.

*************

Give me this much: I’ve written over 400 posts for you, some of it marginally thought-provoking, all of it ad-free. I’ve never begged for your money. I’ve deliberately chosen not to monetize this website so as not to insult your intelligence or to guilt-trip you into a “donation.” That’s tacky and demeaning, both of me and you; we’re better than that. I write Leicaphilia as a labor of love. No remuneration needed or required. And I’m grateful for the readership I have.

So, my question is this: Let’s assume I do enough of a print run to justify selling individual copies for $30 US. Hell, I’ll probably lose money at that price, but that’s OK. Add $5 US shipping within the US, $15 US shipping to Europe/Asia. How many of you would buy Car Sick?

Car Sick

I love taking photos from car windows. They’re the sort of views people don’t give much thought to and so rarely think to photograph. Yet, many of us are in our cars for a substantial part of our day, and much of what we see is mediated through the car window.

I’m intending to publish a book of photographs out of car windows. I’ve begun the process of winnowing down what works and what doesn’t. Like all photography grouping, much of it is dependent on context and sequencing. Narrative focus is what separates good work from bad.

The initial question, before questions of context, is the innate quality of the photo itself – does it stand on its own in terms of form and/or content? This leads to issues of the larger connective theme of the work – is it content i.e. all photos taken out of car windows, or is it formal similarity i.e. a certain ‘look,’ or aesthetic? My sense is it should be both.

With that in mind, here are a few in no specific order or context. I see them as having the potential to anchor a large narrative that extends the subject both in content and formal coherence.

Holy Week, Part 2

Consider this the second part of my previous Holy Week post [I’d link to it but the “new, improved” WordPress software doesn’t allow me to do even basic things without incredible hassles. Suffice it to say that it totally sucks, and explains, why, among other things, I’ve been unable to give many of my posts ‘Catagory’ tags]. Go back a few posts and you’ll find it. There, I had posted a series of photos taken with a medium format film camera, a Fuji GS690. The photos had subsequently been tweaked to get them to look like I wanted them to look.

The bulk of the photos I’d taken that week were taken with a Leica M4 loaded with HP5 and pushed to 1600 ISO. I subsequently found a number of scans I’d done from those 35mm negatives – straight scans without much manipulation. Of course, the scanned files of the best 3 or 4 of the entire series were corrupted, so I’m unable to post them. I do, however, have the negatives, So I can go back and re-scan them, which is something I couldn’t do if I was dealing with native digital files.

The point of posting these photos is to note the difference one’s choice of format can make for a given subject. The 6×9 negatives are huge and produce beautifully detailed prints with subtle tones and gradations. The 35mm negatives obviously produce a much rawer look, grainy and indistinct. My intent was to use those specific characteristics to my benefit. I chose to shoot night scenes in available light with the M4, all handheld at very low shutter speeds. That’s how I envisioned the subject, sort of mysterious and furtive. At the risk of showing you my failures, this is what I came up with.

While I love the photo that leads off the piece, the rest is, at best, hit and miss, or, to put it bluntly, they don’t work. In retrospect, the day-time medium format photos are far superior insofar as they allowed me to document what I saw in the manner I saw it, albeit with the posthumous aide of digital software manipulation. Same subject, same photographer, different film format and camera, remarkably different output. The camera sometimes does matter.

Baudelaire’s Eyes and What They Tell us About Photographic Truth

Charles Pierre Baudelaire (1821 – 1867) was a French poet, essayist, art critic, and translator of Edgar Allan Poe. He’s best known for Les Fleurs du mal (The Flowers of Evil), an extended Modernist prose poem about where one might find beauty in modern, rapidly industrializing mid-19th-Century Paris. Baudelaire influenced a whole generation of Fench poets including Paul Verlaine, Arthur Rimbaud, and Stéphane Mallarmé, among others, and also 20th-Century artists as diverse as 60’s rock star Jim Morrison and Portuguese author Fernando Pessoa. He coined the term “modernité” to designate the fleeting, ephemeral experience of urban life and claimed that the primary responsibility of modern art was to capture and, in so doing, transform that experience.

While Baudelaire lay on his deathbed, dying of syphilis, his mother found two photographs of him he had secreted in his overcoat; apparently, he’d been keeping the two photos on his person, a hidden, guilty pleasure of some sort.  In one (that’s it above), he stares aggressively at the camera as if trying to directly meet the unmediated gaze of the ultimate viewer of the photo. Frankly, he looks pissed off, as if the camera itself were his enemy, something put between him and viewer, something that obscured the potential of a meaningful relationship between him and the person who’d view him as the subject of the photo. 

Baudelaire had been interested in photography since the 1850s. French photographer Nadar, (Gaspard-Félix Tournachon (1820 – 1910),  was one of Baudelaire’s closest friends until Baudelaire’s death in 1867 (Nadar wrote Baudelaire’s obituary in Le Figaro). Nadar remains one of the great early photo-portraitists, his portraits held by many of the great national photography collections. 

In spite of his interest in photography and his friendship with Nadar, Baudelaire never much liked photography as a means of getting at anything subjectively truthful.  He thought the camera’s lens “a dictatorship of opinion,” a device that made an end-run around the active self-questioning required of a viewing subject. Photography could not, according to Baudelaire, encroach upon “the domain of the impalpable and the imaginary”; it was competent only as a means to document objective facts.

According to Baudelaire, only with an “embodied vision”, actively interrogating what one looked at, could you possibly gain any sense of mastery over the perceived object, and such active interrogation only became possible when the subject of one’s gaze could gaze back. Real subjective visual truth came only when there could be a reciprocal interaction of the viewer and the subject.  Rather than the one-sided transaction implicit in much of Western visual art – painting or photography – Baudelaire’s idea of a truthful visual representation would be a “forest of symbols” that looked back at you “with familiar eyes.” Using this criterion, photographic portraiture was, at best, caricature.

*************

In secular Western culture, where science and rationality are presumed to give us insight into what is “true,”  we are used to seeing the material world through the lens of science, where subjects are turned into objects and placed in categories. Photography aides that process by its ability to document objective facts, and Baudelaire saw that as a legitimate use of photography. For Baudelaire, the problem came with photography’s attempt to capture the subjective. It can’t, because it can’t look back. There’s no real interaction between the viewing subject and photographic subject. Relationship, that which underlies subjectivity, is impossible in the one-sided encounter offered by a photograph. The image will always be distorted.

Compare what happens when you look at a photograph of a woman, how you look at it, with the way you look at that same woman encountered in the flesh, on the street; how you do so determines whether or not you let her look back.  “Truth” is found in the reciprocal gaze, between subject and object, between the man and woman walking past each other in the street.

Baudelaire would say that modern man suffers from a distorted visual culture created by the ubiquity of photographic images.  Given the extent to which photography has been normalized and now embedded in our societal consciousness, it has led us away from the truth. It has distorted our ability to understand others. It gives us only a superficial caricature, a false representation of other people, visual images of persona as opposed to the person themselves. Capitalist consumerism uses its distortions to make us want things, playing on our imagination because the image can’t interact with us.  We see other people in this “post-truth” world, where photographed people are real only to the extent they conform to our imaginations. The image world it gives us is of strangers-as-passersby who never make eye contact. It’s hard to see, really see, someone else in this world of images, surrounded by people who are all doing the same.

Believing is Seeing

Edinburgh, May 1, 2015

” What we see is not independent of our beliefs. Photographs provide evidence but no shortcut to reality. It is often said that seeing is believing. But we do not form our beliefs on the basis of what we see; rather, what we see is often determined by our beliefs. Believing is seeing, not the other way around.”

-Errol Morris, Believing is Seeing: On the Mysteries of Photography

A couple of years ago my wife and I found ourselves in Edinburgh for a day, traveling between some place or other. For those of you who’ve never been, it’s a really nice town to spend a few days – lot’s of history, good free museums, active and interesting culinary scene, great street life. We were also lucky enough to be there on May Day when Edinburgh celebrates Beltain, the Celtic neo-pagan holiday commemorating the beginning of Summer, the celebration consisting of naked people dancing around fires on Calton Hill overlooking downtown Edinburgh.

Edinburgh is also a great place for “street photography.” Given its latitude and the oblique angle of the sun, you get nice bright light contrasted with deep black lengthened shadows, which makes for the types of visual contrasts good street photographers exploit. And it’s a town of shoppers, for me at least, the perfect setting for interesting and thought-provoking visuals. Princes Street – a half-mile of upscale retail shops running east/west – being as target-rich an environment as I’ve ever experienced. So, of course, the day I was there I walked around snapping photos while the wife shopped for a kilt for her son (yup). The photos I’ve used to illustrate this post were all taken during an afternoon walking Prince Street.

*************

 “Street” Photography

Above is a “street photo.” I took it that day in Edinburgh. It’s an uninteresting photo. It says nothing, connotes nothing, implies nothing. It’s just a guy on a street, a throw away shot that doesn’t work on any level. But, hey, it’s properly exposed, it’s in focus, the tonality is nice, it’s framed competently (but what’s up with the big black empty space on the left?) and it’s a guy on a street. Bingo, I’m a “street photographer.” Too many “street photographers” seem to think that’s enough to qualify. If you have any questions, go here and look at what people post on public forums dedicated to showcasing “street photography.” 90% of the photos posted are no better than what I’ve posted above, many even worse. Why? They say nothing. They’re just people walking down the street. Ask the photographer ‘what’s the point’ and in all likelihood, he’ll reply with a blank stare – ‘what do you mean, what’s the point?’

Which gets me to my point. Street photos – any photo for that matter – need to say something. How do you do that? You have something to say. You must have a belief – an idea wishing to be made manifest – before you photograph, and the resulting photos should convey that idea, both individually and as a collective. Garry Winogrand’s 1960’s work, wonky and off-kilter though it was, was the result of a unified vision that worked both individually and collectively, the collective giving context to the individual, the individual stating its own visual truth.

Good “street photography” captures a fleeting moment that stands for something larger. The people and things pictured aren’t just people and things; rather, they suggest something more, some question to be answered or puzzle to solve. What is shown suggests something not shown, hints at it, implies it. It aspires to a  reality truer and deeper than anything immediately at hand, something more intense and deeper than the ordinariness of the routine life pictured – what the Greeks called anagnorisis – when the mundane surface is stripped away and the essence is revealed.

 

*************

Below are a number of photos I took that day in Edinburgh. I think they’re all good examples of street photography that works. They have a theme that runs through them, something I’m suggesting to you. They’re interesting visually and, and, if you’re paying close attention,  intellectually. They work both individually and collectively as a series. They have a point of view, something that I’m attempting to communicate to you the viewer. We may differ on what that point is, but the photos themselves admit of something more than their topical subjects, and they add something to each other when they’re viewed as a group. Really, that’s all you need to produce decent work. Just have something to say.

The “Right to One’s Image”

This Photo Might be Illegal

Long ago, before your phone was also your camera, it was a first-class pain in the ass to shoot street photography in Paris. The French, peculiar people they are, are very particular about the “Droit à l’image” (Right to One’s Image) issue. Frankly, it can be incredibly tiresome dealing with French people who seem to think it’s their business what you do with your camera in a public space. In the States, we’re relatively habituated to people pointing cameras in public spaces. Under American law, if you’re in a public space, you’re fair game. Of course, this hasn’t stopped freedom loving Americans from bitching at me when I’ve pointed a camera in their general direction, but I’m on firm legal ground when I’ve told them to go pack sand.

In France, meanwhile, I’ve had people threaten to call the police because I was taking pictures of inanimate objects in public. Arrogant people, the French, although I love them dearly in spite of their obvious faults. And God help you if their child could possibly be somewhere in the picture – I’ve almost come to blows with aggrieved Parisians about the issue. My standard response is “Yes, call the police. Let’s talk to them about it” at which point they’d cut and run after a few choice words, or, if that didn’t work, I’d suggest they engage in an anatomically impossible sex act and then ignore them, which seemed to either force the encounter to an unpleasant conclusion or, in rare instances, send it nuclear. More on that some other time.

*************

Sitting on Your Front Porch in Mississippi? Fair Game

The gist of Droit à l’image des personnes en France is a simple one. If the subject of the photograph is a person, that person has a right to oppose the use of his image. This right derives from the French civil concept of private life.  Essentially, what it means is this: before being able to use the photograph in question, you must ensure that the person photographed does not expect privacy of his personal image and that he does not oppose the publication of this image. Unlike other countries (e.g. The States) this right to one’s image includes images taken in public, including group photography during something like a street demonstration.

The person whose image is at issue can oppose use its use by invoking Art. 9 of the French Civil Code which protects the right of every individual to respect for his/her private life. Contrary to a misconception seemingly prevalent in Paris, it’s not the taking of pictures in public itself that is a violation of the right, but rather the diffusion or publication of photographs where both the context and the person are easily recognizable. Try explaining that to some large French guy currently in your grill, spittle flying, demanding you delete the photo you’ve just taken on that picturesque Parisian Boulevard.

Meanwhile, These People Could Sue the Hell Out of Me

Like most things, the devil is in the details.  Any photographer who is content to shoot for his own personal and private use does not violate the law (e.g see: Court of Cassation, Criminal Chamber, October 25, 2011, appeal 11-80.266,  “… the taking of photographs without the consent of the persons appearing therein having been made in a public place, the offense provided for by article 226-1, 2 ° of the Penal Code does not apply.” And if you really want to get legalistic, even in France there exists the right to photograph and publish persons of “public interest” without their express permission. As such, if I see Sir Thorsten von Overgaard – obviously a “public figure,” married as he is to Princess Joy – out and about with a gaggle of acolytes taking his street photography seminar, I’m within my rights to take his picture, as authorization is not required of “public figures” given a recognized “right to information”, “right to information” meaning photographs of public personas in engaged in public activities. The suckers following him around, off limits.