Their hero Elvis used one. That’s obviously Elvis, above, with a Leica M3. I can’t help notice that there are no photos of any of the Beatles holding or using a Leica; usually a Nikon F, or a Pentax, but never a Leica. Any ideas why that would be?
*************
For that matter, you never saw the Stones with a Leica either:
Hits: 1950
According to now commonly accepted history, Henri Cartier-Bresson (“HCB”), Magnum Co-founder and Leica doyen, is claimed to have used a 50mm Summicron exclusively (he didn’t; he sometimes used a 35mm and in later years increasingly used a 90mm). Certainly, it is true that HCB found the 50mm ‘normal’ perspective conducive to his way of seeing the world, where all things could be put in their proper place to create a harmonious whole. According to HCB, the 50mm perspective on 35mm film “corresponds to a certain vision and at the same time has enough depth of focus, a thing you don’t have in longer lenses. I worked with a 90. It cuts much of the foreground if you take a landscape, but if people are running at you, there is no depth of focus. The 35 is splendid when needed, but extremely difficult to use if you want precision in composition. There are too many elements, and something is always in the wrong place. It is a beautiful lens at times when needed by what you see. But very often it is used by people who want to shout. Because you have a distortion, you have somebody in the foreground and it gives an effect. But I don’t like effects. There is something aggressive, and I don’t like that. Because when you shout, it is usually because you are short of arguments.”
*************
Born in 1908 HCB, came from an affluent French family who made their fortune in French textiles. The Cartier-Bresson family lived in upscale Paris, Rue de Lisbonne. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother’s family were Norman cotton merchants descended from minor royalty.
Think of HCB as a spoiled rich kid of bourgeois Parisians. Since his parents were providing financial support, Henri pursued his creative interests without concern for finances. HCB spent his twenties in Paris, pursuing a career as a painter without much success. In the 1920s, schools of aesthetic realism in both painting and photography were ascendant in Europe, each with a different view on the direction visual imagery should take. Influenced by the nascent Parisian surrealist movement – founded in 1924, Surrealism was the catalyst for the aesthetic that would define HCB’s photography – it championed the ordered emphasis of otherwise incongruous details of everyday life. Cartier-Bresson began socializing with the Surrealists and met a number of the movement’s leading protagonists, and was drawn to the Surrealist movement’s emphasis on order to influence his work. Surrealist theoretical training later helped him identify and resolve problems of artistic form and composition in photography.
In 1932 HCB bought his first Leica with a fixed 50 mm lens. It became his exclusive tool for photography. He felt that its relative anonymity photographing in a crowd or during an intimate moment was essential in overcoming the often unnatural behavior of those who were aware of being photographed, enhancing his ability to capture the world in its actual state of movement and transformation. He painted all shiny parts of the Leica with black paint, giving birth to a Leica affectation that lives on today.
He photographed throughout Europe. In the beginning, not much in his native France. It would be years before he photographed extensively France. The surrealist photos taken during his travels in Mexico and Europe in the mid-30’s brought him recognition in New York as an European ‘art-photographer’. Upon his return to France in 1937, he turned increasingly to ‘straight’ photojournalism after apprenticing as a film director with Jean Renoir.
*************
From HCB’s photographic youth until the dawning of the digital era, the 50mm perspective was considered the ‘normal’ focal length for 35mm. When you purchased a 35mm film camera, invariably it came along with the manufacturer’s 50mm, either a cost-effective f2 or 2.8 or a ‘fast’ f1.8 or 1.4. This was true even of the era of the M film Leica, where the standard first lens for Leicaphiles would be a 50mm, Summar, Summicron, Elmar or later the fast 1.4 Summilux. I attribute this to HCB, even for those who were buying Nikons and Canons. Optical manufacturers claimed the 50mm reproduced ‘normal’ vision, and, as such, constituted the perfect optic for amateurs who were content to use their cameras to document normal life – family, travel, the ubiquitous beach and sunset photos in the manner of the naturally oriented, uncluttered and easily scannable documentary aesthetic of Cartier-Bresson, Doisneau, Kertész etc.
As an aside, part of what made Robert Frank’s photography so unique was its skewed perspectives so unlike to mannered 50mm look, all while still using a 50mm Nikkor on his Leica III. He did so with tilted horizons and de-centered and defocused subjects and, of course, a unique vision. From there it was a easy movement for 60’s era street photographers like Lee Friedlander and Garry Winogrand to further Frank’s aesthetic via use of wider optics, Winogrand known for his use of a 28mm, Friedlander a 21mm. Now normalized, 60’s and 70’s era ‘documentary photographers like Josef Koudelka, less interested in aesthetics than including the necessary, took to 35 and 28mm optics as their standard lenses. Remember, at this stage in optical development, zooms were a non-issue due to bulk and grossly inferior optical quality.
Beginning in the 60’s, wide angle perspective increasingly came to dominate among ‘serious’ documentarians and those giving birth to the nascent category of photography we now refer to as ‘street photography.’ These ‘wide angle’ lenses – 28, 24, 21mm – gave a perspective with heightened foregrounding and decreased linear conversion. Set against this change backdrop, they also caused the 35mm Summicron to be increasingly seen the ‘standard’ lens to mate with the Leica M. At the same time, the 50mm became a secondary ‘short telephoto’ lens, something to be used when the subject needed to be pulled closer in, when more linear perspective was needed ( in layman’s terms a ‘flatter’ image where receding converge), or when shallower depth of field took on an aesthetic characteristic (the larger the mm perspective a lens possesses, the shallower the inherent depth of field).
And so, we are where we are today. The ‘standard 50’ is a thing of the past. Variable focal length lenses (Zooms) are now preferred options, fixed lens of any length mostly an historical curiosity limited to hard care Leica users. Most new cameras come with a ‘kit lens’ zoom that starts with a wide focal length (usually something around a 21mm but often even shorter) and runs up to 70mm and beyond. In the pre-computerized era, where lenses were designed without recourse to computer modelling, zooms were of bulky and of questionable optical character. Modern optical technology has made choosing a standard lens superfluous; modern zooms mostly equal the optical quality of fixed focal length lenses without the added bulk.
Of course, for a traditional optical rangefinder like a digital or film M, a zoom isn’t a choice (The live view M240 being an exception), but even so, quick perusal of the average ‘street photography’ internet forum is dominated by wider optics – the 28 and 21mm focal lengths in particular, probably a legacy of the aesthetic pioneered by Winogrand, Friedlander et al. Granted, there are purists who still bemoan what they consider the convoluted perspectives of wider lenses, where foregrounds dominate with everything behind them in focus, but they tend to be naive photographers using their cameras for recordation of fact and not primarily aesthetic purposes, except maybe to engage in comparative bokeh exercises. They are the heirs of HCB.
For myself, I still prefer a fixed focal length lens on my Leicas and Nikons and Sigma Foveons, but don’t find much need for a standard 50 and actually try to avoid it when using lenses on APS-C sensors like my Nikon D220 (I use a 24mm which, wit crop factor equals a 35mm on a film camera) or a 20mm on my 1.7 crop Sigma SD15 (which works out to approximately 40mm on a 35mm film camera). For my M240 and M9 Monochrom, I use a 35mm VC 2.5 exclusively (like most VC optics for the Leica, a remarkable optic for the money). Having come of age photographically in the 70’s, my standard optical length is a 35mm, which I consider to give a normal perspective. If I want wide I’ll use a 21mm. As for the 28mm focal length, I’ve never gotten on with it. It seems a perspective in need of a subject, an inferior substitute for a 21mm capable of slamming foregrounds in the viewers face. If you’re going for that look, why do it by halves? I do own a number of 50mm optics ( for my Leica I have a few cheap Jupiter-8’s and an impressive TTArtisans f1.1 50mm) but they stay on the shelf rarely if ever used except when I take an occasional portrait or need to isolate detail at the expense of the whole. Or when I want bokeh (which is never). In this sense, I’m a photographic heir of Friedlander, Koudelka, Trent Parke. As I’ve noted before, while I admire HCB, I find his work too flat and mannered for my tastes. That probably has a lot to do with the 50mm perspective he employed.
Hits: 803
This black paint Leica M2, serial number 1130008, was owned and used by US press photographer Sean Flynn, son of actor Errol Flynn. Flynn used this camera to cover the Vietnam War and Israel’s Six Day War. Flynn often accompanied US special forces units in hostile areas. On April 6th, 1970, Flynn with his fellow photojournalist Dana Stone motorcycled into Cambodia. Neither was ever seen again. It’s thought that both were kidnapped by the Vietcong and given to the Khmer Rouge before being executed. Sean Flynn was declared legally dead in 1984.
His M2 was found in his Paris apartment after his disappearance. Why he didn’t have it with him when he disappeared is anyone’s guess.
Sean Flynn with His Black M2 and Chrome Summilux
The camera, still in good working order, was auctioned off by Leitz Photographica Auctions in 2018 for an unspecified sum. It shows the obvious signs of wear of a black paint Leica used in extreme conditions. It was auctioned equipped with steel-rim Summilux 1.4/35 no.2166593 (from the last series of 200 lenses made in 1966). Attached to the camera was a short strap made from a parachute cord, with steel ring from a hand grenade.
Hits: 123
I’ve always had a soft spot for Jacques-Henri Lartigue’s amateur photographic work. For me, his childhood output constitutes one of the highlights of early 20th-century photography. Born in Courbevoie, near Paris in France in 1894, Lartigue took his first photographs at age 8. For him, photography was a revelation that would inspire him throughout his life: “It was a superhuman invention. I got it all! Colors! The sounds!”
Lartigue’s early vision – private memory as photographic subject – constitutes an authentic autobiographical diary of his family life in pre-WW1 France. His images are of an affectionate and happy family environment: parents, brother Zissou, grandfather Alfred (who was one of the inventors of the monorail system and also a playwright), uncles, aunts, cousins all handsome and well dressed. From the images we know that the Lartigues were well off socially – we are shown nannies, chauffeurs, loved pets.
As he became more familiar with his camera, Lartigue’s subjects and frames changed to reflect the moment: his subjects became car races in Auvergne, the bathers in Deauville and Biarritz, airplanes in Issy-les-Moulineaux and Buc, winter pastimes in Switzerland.
Grand Prix de l’ACF, Delage automobile, Dieppe Circuit 26 June 1912
In 1915 Lartique attended the Académie Jullian to study painting, which would become his lifelong profession. Photography, however, remained his great love. The expressive knowledge he learned via painting – but also his use of the various cameras over the years, in particular their technical limits – were the means he used to create his unique photographic style. Lartigue’s vision is of the Belle Époque, the bliss of happiness of French life before the First World War, an era also characterized by the Impressionists who painted in parallel with the innovation of the photographic medium. It was an aesthetic that gave a privileged view of bourgeois life in France in the early 1900s.
Véra et Arlette, Cannes, May 1927
*************
It was only in the 1960s, when he was almost 70, that his larger photographic archive became known to the general public via an exhibition held at the Museum of Modern Art in New York in 1963 entitled “The Photographs of Jacque Henri Lartigue” curated by John Szarkowski, director of the Museum’s Department of Photography. Lartigue was “discovered” as if he were a child who had miraculously captured a passing world while documenting the beginnings of the new. It wasn’t a large show, 45 early photographs from the very beginning of Lartigue’s career, now iconic. Szarkowski described Lartigue’s photography as “the precursor of every interesting and lively creation made during the twentieth century”. Richard Avedon, after viewing Lartigue’s work at the MoMA in 1963 wrote to him that “It was one of the most moving and powerful experiences of my life. They are photographs that echo. I will never forget them. Seeing them was for me like reading Proust for the first time ”.
Lartigue remained no mere naive kid with a camera. If the 1963 MoMA photos are beautiful evocations of a lost world, the photographs that Lartigue took in the six decades of his working life constitute his enduring legacy. Kevin Moore’s monograph, Jacques Henri Lartigue: The Invention of an Artist (2004), argues for the sophistication and enduring quality of Lartigue’s mature work. According to Moore, Lartigue, with his ability to freeze the enduring moment in time, made the snapshot a work of art. That he did is a measure of his enduring worth as a photographer.
*************
In 1974, French president Valéry Giscard d’Estaing commissioned Lartigue to produce his official portrait. In 1975 the Muséè des arts Décoratifs in Paris presented a large review of his photography, ‘Lartigue 8 x 80’, and in 1980 the Grand Palais in Paris exhibited a retrospective entitled ‘Bonjour Monsieur Lartigue‘ .
In 1979 Lartigue donated his entire work – negatives, original albums, diaries, cameras – to the French government which established the Association des Amis de Jacques Henri Lartigue, today called Donation Jacques Henri Lartigue, with the supervision of the Ministry of Culture. The function of the Donation is to promote Lartigue’s work.
Jacques-Henri Lartigue continued to photograph, paint and write until his death in September 1986, at the age of 92. He left over 100,000 photographs, 7,000 diary pages and 1,500 paintings.
Hits: 135
By Anthony Lane, New Yorker Magazine, September 24, 2007
Fifty miles north of Frankfurt lies the small German town of Solms. Turn off the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back from the road, and, on a warm morning in late August, not a soul in sight. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is a clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, that’s about it. But here is the place to go, if you want to find the most beautiful mechanical objects in the world.
There have been Leica cameras since 1925, when the Leica I was introduced at a trade fair in Leipzig. From then on, as the camera has evolved over eight decades, generations of users have turned to it in their hour of need, or their millisecond of inspiration. Aleksandr Rodchenko, André Kertész, Walker Evans, Henri Cartier-Bresson, Robert Capa, Robert Frank, William Klein, Garry Winogrand, Lee Friedlander, and Sebastião Salgado: these are some of the major-league names that are associated with the Leica brand—or, in the case of Cartier-Bresson, stuck to it with everlasting glue.
Even if you don’t follow photography, your mind’s eye will still be full of Leica photographs. The famous head shot of Che Guevara, reproduced on millions of rebellious T-shirts and student walls: that was taken on a Leica with a portrait lens—a short telephoto of 90 mm.—by Alberto Díaz Gutiérrez, better known as Korda, in 1960. How about the pearl-gray smile-cum-kiss reflected in the wing mirror of a car, taken by Elliott Erwitt in 1955? Leica again, as is the even more celebrated smooch caught in Times Square on V-J Day, 1945—a sailor craned over a nurse, bending her backward, her hand raised against his chest in polite half-protestation. The man behind the camera was Alfred Eisenstaedt, of Life magazine, who recalled:
I was running ahead of him with my Leica, looking back over my shoulder. But none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked.
He took four pictures, and that was that. “It was done within a few seconds,” he said. All you need to know about the Leica is present in those seconds. The photographer was on the run, so whatever he was carrying had to be light and trim enough not to be a drag. He swivelled and fired in one motion, like the Sundance Kid. And everything happened as quickly for him as it did for the startled nurse, with all the components—the angles, the surrounding throng, the shining white of her dress and the kisser’s cap—falling into position. Times Square was the arena of uncontrolled joy; the job of the artist was to bring it under control, and the task of his camera was to bring life—or, at least, an improved version of it, graced with order and impact—to the readers of Life.
*************
Still, why should one lump of metal and glass be better at fulfilling that duty than any other? Would Eisenstaedt really have been worse off, or failed to hit the target, with another sort of camera? These days, Leica makes digital compacts and a beefy S.L.R., or single-lens reflex, called the R9, but for more than fifty years the pride of the company has been the M series of 35-mm. range-finder cameras—durable, companionable, costly, and basically unchanging, like a spouse. There are three current models, one of which, the MP, will set you back a throat-drying four thousand dollars or so; having stood outside dustless factory rooms, in Solms, and watched women in white coats and protective hairnets carefully applying black paint, with a slender brush, to the rim of every lens, I can tell you exactly where your money goes. Mind you, for four grand you don’t even get a lens—just the MP body. It sits there like a gum without a tooth until you add a lens, the cheapest being available for just under a thousand dollars. (Five and a half thousand will buy you a 50-mm. f/1, the widest lens on the market; for anybody wanting to shoot pictures by candlelight, there’s your answer.) If you simply want to take a nice photograph of your children, though, what’s wrong with a Canon PowerShot? Yours online for just over two hundred bucks, the PowerShot SD1000 will also zoom, focus for you, set the exposure for you, and advance the frame automatically for you, none of which the MP, like some sniffing aristocrat, will deign to do. To make the contest even starker, the SD1000 is a digital camera, fizzing with megapixels, whereas the Leica still stores images on that frail, combustible material known as film. Short of telling the kids to hold still while you copy them onto parchment, how much further out of touch could you be?
To non-photographers, Leica, more than any other manufacturer, is a legend with a hint of scam: suckers paying through the nose for a name, in a doomed attempt to crank up the credibility of a picture they were going to take anyway, just as weekend golfers splash out on a Callaway Big Bertha in a bid to convince themselves that, with a little more whippiness in their shaft, they will swell into Tiger Woods. To unrepentant aesthetes, on the other hand, there is something demeaning in the idea of Leica. Talent will out, they say, whatever the tools that lie to hand, and in a sense they are right: Woods would destroy us with a single rusty five-iron found at the back of a garage, and Cartier-Bresson could have picked up a Box Brownie and done more with a roll of film—summoning his usual miracles of poise and surprise—than the rest of us would manage with a lifetime of Leicas. Yet the man himself was quite clear on the matter:
I have never abandoned the Leica, anything different that I have tried has always brought me back to it. I am not saying this is the case for others. But as far as I am concerned it is the camera. It literally constitutes the optical extension of my eye.
Asked how he thought of the Leica, Cartier-Bresson said that it felt like “a big warm kiss, like a shot from a revolver, and like the psychoanalyst’s couch.” At this point, five thousand dollars begins to look like a bargain.
*************
Oscar Barnack at his Desk
Many reasons have been adduced for the rise of the Leica. There is the hectic progress of the illustrated press, avid for photographs to fill its columns; there is the increased mobility, spending power, and leisure time of the middle classes, who wished to preserve a record of these novel blessings, if not for posterity, then at least for show. Yet the great inventions, more often than not, are triggered less by vast historical movements than by the pressures of individual chance—or, in Leica’s case, by asthma. Every Leica employee who drives down Oskar-Barnack-Strasse is reminded of corporate glory, for it was Barnack, a former engineer at Carl Zeiss, the famous lens-makers in Jena, who designed the Leica I. He was an amateur photographer, and the camera had first occurred to him, as if in a vision, in 1905, twenty years before it actually went on sale:
Back then I took pictures using a camera that took 13 by 18 plates, with six double-plate holders and a large leather case similar to a salesman’s sample case. This was quite a load to haul around when I set off each Sunday through the Thüringer Wald. While I struggled up the hillsides (bearing in mind that I suffer from asthma) an idea came to me. Couldn’t this be done differently?
Five years later, Barnack was invited to work for Ernst Leitz, a rival optical company, in Wetzlar. (The company stayed there until 1988, when it was sold, and the camera division, renamed Leica, shifted to Solms, fifteen minutes away.) By 1913-14, he had developed what became known as the ur-Leica: a tough, squat rectangular metal box, not much bigger than a spectacles case, with rounded corners and a retractable brass lens. You could tuck it into a jacket pocket, wander around the Thuringer woods all weekend, and never gasp for breath. The extraordinary fact is that, if you were to place it next to today’s Leica MP, the similarities would far outweigh the differences; stand a young man beside his own great-grandfather and you get the same effect.
Barnack took a picture on August 2, 1914, using his new device. Reproduced in Alessandro Pasi’s comprehensive study, “Leica: Witness to a Century” (2004), it shows a helmeted soldier turning away from a column on which he has just plastered the imperial order for mobilization. This was the first hint of the role that would fall to Leicas above all other cameras: to be there in history’s face. Not until the end of hostilities did Barnack resume work on the Leica, as it came to be called. (His own choice of name was Lilliput, but wiser counsels prevailed.) Whenever you buy a 35-mm. camera, you pay homage to Barnack, for it was his handheld invention that popularized the 24-mm.-by-36-mm. negative—a perfect ratio of 2:3—adapted from cine film. According to company lore, he held a strip of the new film between his hands and stretched his arms wide, the resulting length being just enough to contain thirty-six frames—the standard number of images, ever since, on a roll of 35-mm. film. Well, maybe. Does this mean that, if Barnack had been more of an ape, we might have got forty?
*************
When the Leica I made its eventual début, in 1925, it caused consternation. In the words of one Leica historian, quoted by Pasi, “To many of the old photographers it looked like a toy designed for a lady’s handbag.” Over the next seven years, however, nearly sixty thousand Leica I’s were sold. That’s a lot of handbags. The shutter speeds on the new camera ran up to one five-hundredth of a second, and the aperture opened wide to f/3.5. In 1932, the Leica II arrived, equipped with a range finder for more accurate focussing. I used one the other day—a mid-thirties model, although production lasted until 1948. Everything still ran sweetly, including the knurled knob with which you wind on from frame to frame, and the simplicity of the design made the Leica an infinitely more friendly proposition, for the novice, than one of the digital monsters from Nikon and Canon. Those need an instruction manual only slightly smaller than the Old Testament, whereas the Leica II sat in my palms like a puppy, begging to be taken out on the streets.
That is how it struck not only the public but also those for whom photography was a living, or an ecstatic pursuit. A German named Paul Wolff acquired a Leica in 1926 and became a high priest to the brand, winning many converts with his 1934 book “My Experiences with the Leica.” His compatriot Ilsa Bing, born to a Jewish family in Frankfurt, was dubbed “the Queen of the Leica” after an exhibit in 1931. She had bought the camera in 1929, and what is remarkable, as one scrolls through a roster of her peers, is how quickly, and infectiously, the Leica habit caught on. Whenever I pick up a book of photographs, I check the chronology at the back. From a monograph by the Hungarian André Kertész, the most wistful and tactful of photographers: “1928—Purchases first Leica.” From the catalogue of the 1998 Aleksandr Rodchenko show at moma: “1928, November 25—Stepanova’s diary records Rodchenko’s purchase of a Leica for 350 rubles.” And on it goes.
Ilsa Bing
The Russians were among the first and fiercest devotees, and anyone who craves the Leica as a pure emblem of capitalist desire—what Marx would call commodity fetishism—may also like to reflect on its status, to men like Rodchenko, as a weapon in the revolutionary struggle. Never a man to be tied down (he was also a painter, sculptor, and master of collage), he nonetheless believed that “only the camera is capable of reflecting contemporary life,” and he went on the attack, craning up at buildings and down from roofs, tipping his Leica at flights of steps and street parades, upending the world as if all its old complacencies could be shaken out of the bottom like dust. There is a gorgeous shot from 1934 entitled “Girl with a Leica,” in which his subject perches politely on a bench that arrows diagonally, and most impolitely, from lower left to upper right. She wears a soft white beret and dress, and her gaze is blank and misty, but thrown over the scene, like a net, is the shadow of a window grille—modernist geometry at war with reactionary decorum. The object she clasps in her lap, its strap drawn tightly over her shoulder, is of the same make as the one that created the picture.
When it came to off-centeredness, Rodchenko’s fellow-Russian Ilya Ehrenburg went one better. “A camera is clumsy and crude. It meddles insolently in other people’s affairs,” he wrote in 1932. “Ours is a guileful age. Following man’s example, things have also learned to dissemble. For many months I roamed Paris with a little camera. People would sometimes wonder: why was I taking pictures of a fence or a road? They didn’t know that I was taking pictures of them.” Ehrenburg had solved the problem of meddling by buying an accessory: “The Leica has a lateral viewfinder. It’s constructed like a periscope. I was photographing at 90 degrees.” The Paris that emerged—poor, grimy, and unposed—was a moral rebuke to the myth of bohemian chic.
*************
You can still buy a right-angled viewfinder for a new Leica, if you’re too shy or sneaky to confront your subjects head-on, although the basic thrust of Leica technique has been to insist that no extra subterfuge is required: the camera can hide itself. If I had to fix the source of that reticence, I would point to Marseilles in 1932. It was then that Cartier-Bresson, an aimless young Frenchman from a wealthy family, bought his first Leica. He proceeded to grow into the best-known photographer of the twentieth century, in spite (or, as he would argue, because) of his ability to walk down a street not merely unrecognized but unnoticed. He began as a painter, and continued to draw throughout his life, but his hand was most comfortable with a camera.
When I spoke to his widow, Martine Franck—the president of the Henri Cartier-Bresson Foundation, in Paris, and herself a distinguished photographer—she said that her husband in action with his Leica “was like a dancer.” This feline unobtrusiveness led him all over the world and made him seem at home wherever he paused; one trip to Asia lasted three years, ending in 1950, and produced eight hundred and fifty rolls of film. His breakthrough collection, published two years later, was called “The Decisive Moment,” and he sought endless analogies for the sensation that was engendered by the press of a shutter. The most common of these was hunting: “The photographer must lie in wait, watching out for his prey, and have a presentiment of what is about to happen.”
There, if anywhere, is the Leica motto: watch and wait. If you were a predator, the moment—not just for Cartier-Bresson, but for all photographers—became that much more decisive in 1954. “Clairvoyance” means “clear sight,” and when Leica launched the M3 that year, the clarity was a coup de foudre; even now, when you look through a used M3, the world before you is brighter and crisper than seems feasible. You half expect to feel the crunch of autumn leaves beneath your feet. A Leica viewfinder resembles no other, because of the frame lines: thin white strips, parallel to each side of the frame, which show you the borders of the photograph that you are set to take—not merely the lie of the land within the shot, but also what is happening, or about to happen, just outside. This is a matter of millimetres, but to Leica fans it is sacred, because it allows them to plan and imagine a photograph as an act of storytelling—an instant grabbed at will from a continuum. If you want a slice of life, why not see the loaf?
*************
The M3 had everything, although by the standards of today it had practically nothing. You focussed manually, of course, and there was nothing to help you calculate the exposure; either you carried a separate light meter, or you clipped one awkwardly to the top of the camera, or, if you were cool, you guessed. Cartier-Bresson was cool. Martine Franck is still cool: “I think I know my light by now,” she told me. She continues to use her M3: “I’ve never held a camera so beautiful. It fits the hand so well.” Even for people who know nothing of Cartier-Bresson, and for whom 1954 is as long ago as Pompeii, something about the M3 clicks into place: last year, when eBay and Stuff magazine, in the U.K., took it upon themselves to nominate “the top gadget of all time,” the Game Boy came fifth, the Sony Walkman third, and the iPod second. First place went to an old camera that doesn’t even need a battery. If the Queen subscribes to Stuff, she will have nodded in approval, having owned an M3 since 1958. Her Majesty is so wedded to her Leica that she was once shown on a postage stamp holding it at the ready.
It’s no insult to call the M3 a gadget. Such beauty as it possesses flows from its scorn for the superfluous; as any Bauhaus designer could tell you, form follows function. The M series is the backbone of Leica; we are now at the M8 (which at first glance is barely distinguishable from the M3), and, with a couple of exceptions, every intervening camera has been a classic. Richard Kalvar, who rose to become president of the Magnum photographic agency during the nineties, remembers hearing the words of a Leica fan: “I know I’m using the best, and I don’t have to think about it anymore.” Kalvar bought an M4 and never looked back: “It’s almost a part of me,” he says. Ralph Gibson, whose photographs offer an unblinking survey of the textures that surround us, from skin to stone, bought his first Leica, an M2 (which, confusingly, postdated the M3), in 1961. It cost him three hundred dollars, which, considering that he was earning a hundred a week, was quite an outlay, but his loyalty is undimmed. “More great photographs have been made with a Leica and a 50-mm. lens than with any other combination in the history of photography,” Gibson said to me. He advised Leica beginners to use nothing except that standard lens for two or three years, so as to ease themselves into the swing of the thing: “What you learn you can then apply to all the other lengths.
One could argue that, since the nineteen-fifties and sixties, the sense of Europe as the spiritual hearth of Leica, with the Paris of Kertész and Cartier-Bresson glowing at its core, has been complemented, if not superseded, by America’s attraction to the brand. The Russian love of the angular had exploited the camera’s portability (you try bending over a window ledge with a plate camera); the French had perfected the art of reportage, netting experience on the wing; but the Leicas that conquered America—the M3, the M4, and later the M6, with built-in metering and the round red Leica logo on the front—were wielded with fresh appetite, biting at the world and slicing it off in unexpected chunks. Lee Friedlander, photographing a child in New York, in 1963, thought nothing of bringing the camera down to the boy’s eye level, and thus semi-decapitating the grownups who stood beside him. (All kids dream of that sometime.) Men and women were reflected in storefront windows, or obscured by street signs; many of the photographs shimmered on the brink of a mistake. “With a camera like that,” Friedlander has said of the Leica, “you don’t believe that you’re in the masterpiece business. It’s enough to be able to peck at the world.” One shot of his, from 1969, traps an entire landscape of feeling—a boundless American sky, salted with high clouds, plus Friedlander’s wife, Maria, with her lightly smiling face—inside the cab of a single truck, layering what we see through the side window with what is reflected in it. I know of long novels that tell you less.
Before Friedlander came Robert Frank, born in Switzerland; only someone from a mountainous country, perhaps, could come here and view the United States as a flat and tragic plain. “The Americans” (1958), the record of his travels with a Leica, was mostly haze, shade, and grain, stacked with human features resigned to their fate. No artist had ever studied a men’s room in such detail before, with everything from the mop to the hand dryer immortalized in the wide embrace of the lens; Jack Kerouac, who wrote the introduction to the book, lauded the result, taken in Memphis, Tennessee, as “the loneliest picture ever made, the urinals that women never see, the shoeshine going on in sad eternity.” Then, there was Garry Winogrand, the least exhaustible of all photographers. Frank’s eighty-three images may have been chosen from five hundred rolls of film, but when Winogrand died, in 1984, at the age of fifty-six, he left behind more than two and a half thousand rolls of film that hadn’t even been developed. He leavened the wistfulness of Frank with a documentary bluntness and a grinning wit, incessantly tilting his Leica to throw a scene off-balance and seek a new dynamic. His picture of a disabled man in Los Angeles, in 1969, could have been fuelled by pathos alone, or by political rage at an indifferent society, but Winogrand cannot stop tracking that society in its comic range; that is why we get not just the wheelchair and the begging bowl but also a trio of short-skirted girls, bunched together like a backup group, strolling through the Vs of shadow and sunlight, and a portly matron planted at the right of the frame—a stolid import from another age.
*************
Garry Winogrand’s M4
I recently found a picture of Winogrand’s M4. The metal is not just rubbed but visibly worn down beside the wind-on lever; you have to shoot a heck of a lot of photographs on a Leica before that happens. Still, his M4 is in mint condition compared with the M2 owned by Bruce Davidson, the American photographer whose work constitutes, among other things, an invaluable record of the civil-rights movement. And even his M2, pitted and peeled like the bark of a tree, is pristine compared with the Leica I saw in the display case at the Leica factory in Solms. That model had been in the Hindenburg when it went up in flames in New Jersey in 1937. The heat was so intense that the front of the lenses melted. So now you know: Leica engineers test their product to the limits, and they will customize it for you if you are planning a trip to the Arctic, but when you really want to trash your precious camera you need an exploding airship.
If you pick up an M-series Leica, two things are immediately apparent. First, the density: the object sits neatly but not lightly in the hand, and a full day’s shooting, with the camera continually hefted to the eye, leaves you with a faint but discernible case of wrist ache. Second, there is no lump. Most of the smarter, costlier cameras in the world are S.L.R.s, with a lumpy prism on top. Light enters through the lens, strikes an angled mirror, and bounces upward to the prism, where it strikes one surface after another, like a ball in a squash court, before exiting through the viewfinder. You see what your lens sees, and you focus accordingly. This happy state of affairs does not endure. As you take a picture, the mirror flips up out of the light path. The image, now unobstructed, reaches straight to the rear of the camera and, as the shutter opens, burns into the emulsion of the film—or, these days, registers on a digital sensor. With every flip, however, comes a flip side: the mirror shuts off access to the prism, meaning that, at the instant of release, your vision is blocked, and you are left gazing at the dark.
To most of us, this is not a problem. The instant passes, the mirror flips back down, and lo, there is light. For some photographers, though, the impediment is agony: of all the times to deny us the right to look at our subject, S.L.R.s have to pick this one? “Visualus interruptus,” Ralph Gibson calls it, and here is where the Leica M series plays its ace. The Leica is lumpless, with a flat top built from a single piece of brass. It has no prism, because it focusses with a range finder—situated above the lens. And it has no mirror inside, and therefore no clunk as the mirror swings. When you take a picture with an S.L.R., there is a distinctive sound, somewhere between a clatter and a thump; I worship my beat-up Nikon FE, but there is no denying that every snap reminds me of a cow kicking over a milk pail. With a Leica, all you hear is the shutter, which is the quietest on the market. The result—and this may be the most seductive reason for the Leica cult—is that a photograph sounds like a kiss.
From the start, this tinge of diplomatic subtlety has shaded our view of the Leica, not always helpfully. The M-series range finder feels made for the finesse and formality of black-and-white—yet consider the oeuvre of William Eggleston, whose unabashed use of color has delivered, through Leica lenses, a lesson in everyday American surrealism, which, like David Lynch movies, blooms almost painfully bright. Again, the Leica, with its range of wide-aperture lenses, is the camera for natural light, and thus inimical to flash, yet Lee Friedlander conjured a series of plainly flashlit nudes, in the nineteen-seventies, which finds tenderness and dignity in the brazen. Lastly, a Leica is, before anything else, a 35-mm. camera. Barnack shaped the Leica I around a strip of film, and the essential mission of the brand since then has been to guarantee that a single chemical event—the action of light on a photosensitive surface—passes off as smoothly as possible. Picture the scene, then, in Cologne, in the fall of 2006. At Photokina, the biennial fair of the world’s photographic trade, Leica made an announcement: it was time, we were told, for the M8. The M series was going digital. It was like Dylan going electric.
In a way, this had to happen. The tide of our lives is surging in a digital direction. My complete childhood is distilled into a couple of photograph albums, with the highlights, whether of achievement or embarrassment, captured in no more than a dozen talismanic stills, now faded and curling at the edges. Yet our own children go on one school trip and return with a hundred images stashed on a memory card: will that enhance or dilute their later remembrance of themselves? Will our experience be any the richer for being so retrievable, or could an individual history risk being wiped, or corrupted, as briskly as a memory card? Garry Winogrand might have felt relieved to secure those thousands of images on a hard drive, rather than on frangible film, although it could be that the taking of a photograph meant more to him than the printed result. The jury is out, but one thing is for sure: film is dwindling into a minority taste, upheld largely by professionals and stubborn, nostalgic perfectionists. Nikon now offers twenty-two digital models, for instance, while the “wide array of SLR film cameras,” as promised on its Web site, numbers precisely two.
Lee knows what is at stake, being a Leica-lover of long standing. Asked about the difference between using his product and an ordinary camera, he replied: “One is driving a Morgan four-by-four down a country lane, the other one is getting in a Mercedes station wagon and going a hundred miles an hour.” The problem is that, for photographers as for drivers, the most pressing criterion these days is speed, and anything more sluggish than the latest Mercedes—anything, likewise, not tricked out with luxurious extras—belongs to the realm of heritage. There is an astonishing industry in used Leicas, with clubs and forums debating such vital areas of contention as the strap lugs introduced in 1933. There are collectors who buy a Leica and never take it out of the box; others who discreetly amass the special models forged for the Luftwaffe. Ralph Gibson once went to a meeting of the Leica Historical Society of America and, he claims, listened to a retired Marine Corps general give a scholarly paper on certain discrepancies in the serial numbers of Leica lens caps. “Leicaweenies,” Gibson calls such addicts, and they are part of the charming, unbreakable spell that the name continues to cast, as well as a tribute to the working longevity of the cameras. By an unfortunate irony, the abiding virtues of the secondhand slow down the sales of the new: why buy an M8 when you can buy an M3 for a quarter of the price and wind up with comparable results? The economic equation is perverse: “I believe that for every euro we make in sales, the market does four euros of business,” Lee said.
*************
I have always wanted a Leica, ever since I saw an Edward Weston photograph of Henry Fonda, his noble profile etched against the sky, a cigarette between two fingers, and a Leica resting against the corduroy of his jacket. I have used a variety of cultish cameras, all of them secondhand at least, and all based on a negative larger than 35 mm.: a Bronica, a Mamiya 7, and the celebrated twin-lens Rolleiflex, which needs to be cupped at waist height. (“If the good Lord had wanted us to take photographs with a 6 by 6, he would have put eyes in our belly,” a scornful Cartier-Bresson said.) But I have never used a Leica. Now I own one: a small, dapper digital compact called the D-Lux 3. It has a fine lens, and its grace note is a retro leather case that makes me feel less like Henry Fonda and more like a hiker named Helmut, striding around the Black Forest in long socks and a dark-green hat with a feather in it; but a D-Lux 3 is not an M8. For one thing, it doesn’t have a proper viewfinder. For another, it costs close to six hundred dollars—the upper limit of my budget, but laughably cheap to anyone versed in the M series. So, to discover what I was missing, I rented an M8 and a 50-mm lens for four hours, from a Leica dealer, and went to work.
If you can conquer the slight queasiness that comes from walking about with seven thousand dollars’ worth of machinery hanging around your neck, an afternoon with the M8 is a dangerously pleasant groove to get into. I can understand that, were you a sports photographer, perched far away from the action, or a paparazzo, fighting to squeeze off twenty consecutive frames of Britney Spears falling down outside a night club, this would not be your tool of choice, but for more patient mortals it feels very usable indeed. This is not just a question of ergonomics, or of the diamond-like sharpness of the lens. Rather, it has to do with the old, bewildering Leica trick: the illusion, fostered by a mere machine, that the world out there is asking to be looked at—to be caught and consumed while it is fresh, like a trout. Ever since my teens, as one substandard print after another glimmered into view in the developing tray, under the brothel-red gloom of the darkroom, my own attempts at photography have meant a lurch of expectation and disappointment. Now, with an M8 in my possession, the shame gave way to a thrill. At one point, I stood outside a bookstore and, in a bid to test the exposure, focussed on a pair of browsers standing within, under an “Antiquarian” sign at the end of a long shelf. Suddenly, a pale blur entered the frame lines. I panicked, and pressed the shutter: kiss.
On the digital playback, I inspected the evidence. The blur had been an old lady, and she had emerged as a phantom—the complete antiquarian, with glowing white hair and a hint of spectacles. It wasn’t a good photograph, more of a still from “Ghostbusters,” but it was funnier and punchier than anything I had taken before, and I could only have grabbed it with a Leica. (And only with an M. By the time the D-Lux 3 had fired up and focussed, the lady would have floated halfway down the street.) So the rumors were true: buy this camera, and accidents will happen. I remembered what Cartier-Bresson once said about turning from painting to photography: “the adventurer in me felt obliged to testify with a quicker instrument than a brush to the scars of the world.” That is what links him to the Leicaweenies, and Oskar Barnack to the advent of the M8, and Russian revolutionaries to flashlit American nudes: the simple, undying wish to look at the scars.
Hits: 101
The photo above – Devushka s Leikoi – was taken by the constructivist painter/ designer and photographer Alexander Rodchenko with his Leica I. The image is of his assistant and lover Evgenlia Lemberg relaxing in Gorky Park circa 1934. Shortly thereafter Evgenlia was killed in a train accident – a trip that Rodchenko was supposed to take with her but postponed at the last minute. Rodchenko claimed he dreamt about Evgenlia for years after her death. Apparently, this didn’t stop him from also banging her younger sister Regina, who died of gangrene in 1938. That’s her, below, with her Leica. All of this happened while Rodchenko was “happily” married to artist Varvara Stepanova in 1922, with whom he would remain until his death in 1956.
Rodchenko reportedly purchased the first Leica in Russia and was so strongly associated with the camera that a chapter in his biography is titled simply “Leica Photography.”
As a key figure of the Russian modernist movement, Rodchenko helped redefine three key visual genres of modernism: photography, painting and graphic design. In the field of photography, he established unprecedented compositional paradigms, which in many ways still define the entire notion of modern photographic art. In his paintings, the artist further explored and expanded the essential vocabulary of an abstract composition. His series of purely abstract proto-monochrome paintings were influential to artists such as Ad Reinhardt and the Minimalists of the 1960s. Rodchenko’s involvement with the Bolshevik cause further propelled the appreciation of his art in the leftist circles of the American avant-garde.
Rodchenko Checking Out the Ladies with His Leica I
With Wife Varvara Stepanova
Hits: 77
Leica IIIa “Heinrich Hoffmann, Berlin”, 1935 Leitz, Wetzlar. No. 178859. This Leica IIIa with engraving “Presse-Hoffmann, Berlin Nr. 6” is the camera of notorious NAZI press photographer and journalist Heinrich Hoffmann, Munich, later Berlin.This Leica IIIa with serial number 178859 was sold on November 8, 1935 to “Monsieur Hoffmann de Munich”. With Hektor 2,5/5 cm as originally equipped.
Heinrich Hoffmann (12 September 1885 – 15 December 1957) was a Nazi politician and publisher, a member of Hitler’s intimate circle and Hitler’s official photographer. Hoffmann received royalties from the use of Hitler’s image, even on postage stamps, which made him a millionaire during Hitler’s years in power. After the Second World War he was tried and sentenced to four years in prison for war profiteering. He was classified by the Allies’ Art Looting Investigators to be a “major offender” in the plundering of Jewish art, as both art dealer and collector. Hoffman’s art collection, which contained many artworks looted from Jews, was ordered confiscated by the Allies. He recovered the art in 1956 by order of the Bavarian State.
Letter from Ernst Leitz Wetzlar GmbH to French owner of the camera confirming its authenticity
*************
Hits: 384
Above is a limited edition “Correspondent” version of the Leica M-P digital rangefinder, “designed by Lenny Kravitz”, currently for sale on Ebay for 15k. The special edition is “strictly limited” to 125 sets worldwide. This is 029/125.
It’s not a bad looking camera if one simply takes it for what it is. The ‘artificial’ weathering is fairly tasteful if that’s your thing, and it doesn’t have Lenny’s signature, which would irrevocably mar an otherwise nice camera body. My question is: Why would Leica think that Lenny Kravitz would have any significance for a Leicaphile…or for a collector for that matter? I’m truly stumped. The incongruity of calling it a Lenny Kravitz “Correspondent” Leica is even weirder. Leica could have simply released the camera without the Kravitz designation – a limited edition “Correspondent” MP. Price it accordingly.
This is not to denigrate Lenny Kravitz. He’s a talented guy doing what he does. Let’s not confuse him with Robert Capa or Susan Meiselas however. The whole thing reflects poorly on both Leica and Kravitz. The irony is that the digital MP is a really nice camera – I’ve been playing around with one for a few weeks, and I like it. And, while I’m not that up on Lenny Kravitz, the one thing he does that I’m familiar with evidences some musical chops. But, given gimmicks like this, it sort of creeps me out to be seen in public with a digital Leica. Being out and about with a Leica used to give you massive street cred back in the day – then, a beat-up M4 with a ratty 35mm Summicron. Now it conjures up rich poseurs and clueless dilettantes, which is a shame. And Leica has no one but themselves to blame.
So, what’s in it for Leica in naming it after a B-grade rock star? And what’s in it for Lenny Kravitz?
I’d love to hear your thoughts…..
Hits: 30
20/10/19 18:07
For more than 35 years I have been intimately involved in the Leica world, encompassing the history of the company, the analysis of the products and the use of the products, all under the umbrella concept of the Leica World.
I have experienced and discussed in detail with relevant persons in Wetzlar (old), Solms and Wetzlar (again, new) the digital turn and how the company evolved and changed while adopting the digitalization of the photographic process and the changing world of the internet based photography. The most recent event is the evolution from a manufacturing company to a software-based company. While a commercial success, this change of heart has accomplished a, perhaps not intended, impact: the soul of Leica products has been eradicated. A renewed interest in classical products is the result. The SL and Q are currently the hopeful products for the future. The ghosts of Huawei and Panasonic can be seen all over the campus and while the M-system is still being promoted as the true heir of the Leica lineage, it is now sidelined. Once upon a time, Leica followed its own path, guided by gifted and pioneering engineers and keen marketeers. Nowadays its products are as mainstream as every other camera manufacture.
The company has sketched a future and follows a path that I am no longer willing to go.
*************
Next up: Thorsten “von” Overgaard threatens to stop production of Leica inspired Elephant skin leather bags due to “soulless” bokeh of recent Leica optics.
Hits: 1437
Leica is now offering a “Lenny Kravitz designed” Leica M Monochrom camera, a Leica Summicron-M 28mm f/2 ASPH, and a Leica APO-Summicron-M 75mm f/2 ASPH. Buy now and Leica will throw in, at no extra cost to you, matching accessories, including a vegan python carrying strap, matching brown vegan leather carry cases for each lens, versatile pouches, and a brown “Drifter Traveler” weekender bag. No word on how Leica was able to identify and cull “vegan” pythons from regular ones.
Mr. Kravitz’s input seems to have been the idea to paint the camera brown and cover it in snakeskin, which everyone over in Wetzlar considers a brilliant idea, as it apparently conjures up people who are free spirits. “The striking special edition set celebrates Kravitz’s dedication to visual storytelling and pays homage to his inspired, nomadic lifestyle,” Leica says. “A self-proclaimed drifter himself, the attractive set was designed with Kravitz’s vision of being a free spirit, always on the road and open to adventure – ingredients that ignite visual storytelling.”
The Leica Gallery in Wetzlar, Germany is hanging an exhibition of Kravitz’s photography in conjunction with the Drifter release.“ The photo series, inspired by Kravitz’s nomadic lifestyle, will feature intimate portraits, laconic snapshots, carefully observed scenes from the street and well-composed moments in hotel rooms, all captured during his time on the road,” Leica says.
Hits: 1269
Ever since the beginning of man we have wondered about what happens when our body dies. Do we move on? Is there a Heaven? A hell? Will I be able to have my Leica serviced there?
If you’ve ever wondered, Steve Huff (yes, that guy), has the answers. Apparently, when not rapturously expounding upon the “classic rendering” of Voigtlander’s latest ASPH M mount lens, Mr. Huff produces and sells home-made “Portal” devices that allow you to speak directly to dead people. (I am not making this up). Rumor has it that Thorsten “von” Overgaard has bought one to correspond with Louis XIV.
According to Huff’s “paranormal” website:
Each 2019 Classic Portal device is assembled, painted and tested by me, Steve Huff. The 2019 Classic Portal will feature the main amp, a custom extended grill, copper wire grill “cover” as seen above, LED lights in RED or YELLOW or BLUE (your choice), a dual mode reverb that is dialed in and has a frequency that spirit loves in one mode and a second mode with an echo delay that repeats what was said. It also will feature basic noise reduction (to eliminate static from radio boxes), Voice Control AND Direct Line Reverse mode. Voice control is sort of a pitch shift but seems to help with response, as it does alter the sound frequencies. I have tested over 14 pitch shift settings and found the one that works best for me. Direct line reverse mode is a custom pedal loaded with my reverse algorithm. Turn this on with the reverb and all audio going into the Portal will be reversed. So it should sound like nonsense. If you get forward speech then it is unexplained but spirits manipulate audio to speak, and this mode proves it.
I will also include an 6-8 hour rechargeable battery that is attached, making this the most portable portal ever. Each Portal Classic 2019 will also be painted in a custom paint scheme with auto quality clear coat applied for a deep shine and a more sturdy finish.This one will not come with any fancy crystals, gold wire, magnetic energy or orgonite. It will not have gold plated cables or the audio analyzer that is seen in some of my other devices and it will have a smaller capacity battery.
What it will have is a much lower cost while still being very effective for contacting the other side. The price to pre order a 2019 Portal Classic will be $1499.00 SHIPPED within the USA. These will ship in a 14X14X14 box, in a cocoon of bubble wrap.
Apparently, he’s not making them out of orgonite anymore, to keep prices down. These new, improved portal machines are only $1499/shipped, so you too can be conversing with dead people. Act now before they’re gone. [Editor’s Note: We have written Mr. Huff asking him to send a Portal to us for review. We’ll keep you updated.]
I have one question: Is Steve Huff completely batshit crazy, or is this some sort of sick joke?
*************
On a lighter note, Leicaphilia just received the following email from “Angel M”:
hello:
I visit your blog repeatedly and read all your recent post which are very interesting.
One of our website is all about Sex and Sex Toys. We usually work a lot to really make it more informative to our viewers.These info will be helpful for those who search for the same info. Actually both of our very own websites are in same category.
We recently offer a FREE detailed infographics about “The Master Sex Swing Guide”. If you are interested we are pleased to share it to you to look over.
Please let us know your interest about this email.
I’ll be expecting your response.
Best, Angel
Hits: 1053
Bruce Gilden is an American “street photographer.” He is best known for his in-your-face flash photos of people walking the streets of New York City. Although he did attend some evening classes at the School of Visual Arts in New York, he’s pretty much self-taught. He has had various books of his work published, has received the European Publishers Award for Photography and is a Guggenheim Fellow. He joined Magnum in 1998. Think about that: he’s a guy who bought a camera, taught himself the craft, and ends up a member of Magnum and a Guggenheim Fellow. It wasn’t about his contacts, or his educational credentials, or the camera he used; it was because he developed his own unique vision.
Up until the digital age, he shot in B&W. Recently, Leica gave him a Leica S and he’s been shooting in color since. He’s currently working on a project he calls “Faces”, extreme color close-ups using flash (some of them are illustrating his interview below). While you might consider these photos exploitative of the subjects (and they may be) and ugly and perverse, they’re powerful correctives to the airbrushed faux reality of most visual culture.
I like Gilden. It takes a lot of balls to walk up to someone on the street and push a flash camera in their face. Does it take some special photographic talent? No. But that’s not the point. It takes a certain unified vision. The point is Gilden has created an aesthetic unique to him and hasn’t much deviated from it in 50 years. As such, he’s created a large, coherent body of work. I’ve heard people criticize his work, claiming it gimmicky and artless, something any 8th grader would be capable of. Could your kid have taken these pictures? Yes. But your kid didn’t, and Gilden did, just like it would have been within your kid’s skill set to have painted Jackson Pollock’s Alchemy, 1947. Your kid didn’t, because your kid would have never considered the aesthetic potential inherent in the medium. The genius of Pollock -and Gilden- is having seen the aesthetic others missed.
*************
This is an interview of Gilden on the occasion of a retrospective of his work exhibited at the International Center of Photography in New York.
ISP You’ve been described as combative, confrontational, as a genius, as “one of the best street photographers currently alive.” How do you feel about these characterizations?
BG A characterization is just like anything else. Some of it may be true, some of it may be false. Look, people don’t know me. I’m basically shy. And I guess you could say I do what I have to do. But I’m pretty good at reading situations. In other words, when you work close with a flash with someone, I have a pretty good bedside manner. If you’re comfortable doing something, run with it. When you’re uncomfortable or doing it for the wrong reasons, then you encounter problems, because people get a sense of your uneasiness. And if people feel you are doing it for commercial purposes, saying, “oh I have to get that lady with the short hair because I’m selling that picture,” it’s completely different than doing it for artistic reasons, for something that’s in your guts and in your soul. So what I do is always in my soul. I don’t take many pictures. Last year I didn’t even work that often because I decided I was really not going to shoot much more in New York City. So all my shooting has been going on outside my hometown of New York. I mean, if someone wanted me to shoot here, if I got a commission here in the city, I could do it. But now I’m starting to go elsewhere around America and see what’s there. The only problem is in America, there’s nobody on the street. I’ve been doing a lot of formal portraits in color.
ISP How do you feel working in color?
BG It’s quite an easy and smooth transition. If you know how to form a picture, you know how to form a picture. It doesn’t matter if it’s in black-and-white or color. I just got back a little over a month ago from the Milwaukee state fair, and I think I did some of the best work I’ve ever done. It’s almost all formal portraits. When I say formal portraits I mean, when I see people at the fair or in Milwaukee I ask them, “can I take a picture of your face?” And I take a picture. So there’s no studio paper. When I say formal, it means I’m asking the person I want to photograph.
ISP They’re preparing for the shot.
BG No, they’re just average people—my kind of people—people I’m interested in. And we take a picture, but I have an idea how I want it to look, to work. They’re very strong. So that’s what I’ve been doing the last year, year and a half. But I’m also doing other things, too. My style might be aggressive, but I always believed in life that the people who stand back are suspect. In life, if you’re going to do something, let the people know you’re doing it. What I mean by that is you have to be somewhat—I won’t use the word “sneaky”—but… if people know you’re taking a picture and it’s supposed to be candid, you won’t get the picture many times. So you have to be smart and shrewd. But I don’t like people who stand half a block away and take a picture, because I find that sneaky.
ISP You’re talking about the “shooting from afar” strategy.
BG Yeah, to me that’s sneaky because you know most people—I take pictures very close—they don’t even realize I’m photographing them many times. But I approach them well. If you’re at ease, you’ll be surprised how other people many times will be put as ease by your demeanor, unless you get the wrong person, which… it happens.
ISP Do you find that happening more now with the change in camera culture and sensitivity to pictures? With the ubiquity of cameras on the street today, the use of images has changed. As such, the response to photographers may be changing. Particularly with the rise of so-called “creep porn,” women especially might become much more aware of and concerned about being candidly photographed by men they don’t know. There are also rising anxieties about terrorism and reconnaissance, surveillance, and even pedophilia that permeate the street. Has this made your subjects more hostile? Are people really more guarded against street photographers? Do you have to work harder to capture an authentic candid picture of someone?
BG It doesn’t change anything for me. I think it has to do with culture itself, and where you work. For example in a rich area like Kensington in London where I worked a lot, you can feel the British class system, so there’s a difference: if you’re rich and cultured, you have almost divine right, and when a plebian comes over to you and takes your picture without asking, more people will get upset than it would happen in a “bad” area. When working in a “bad” area, if you get the wrong people, it has nothing to do with the camera culture. It has to do with culture—period—which I think is more important. The rich, people in Britain, the posh and snotty, they think they own the world, ok, but if you go in a bad area, and if you don’t know how to deal with the people there or you don’t know how to feel them out or joke with them, you’ll have a problem because you’ll get that kind of response: “You’re a stranger you come in my fuckin territory and you take a picture of me!” Some people are good at dealing with that, some aren’t. You carry it in your body language. Again, if you’re comfortable, it will be fine. I used to be a pretty good athlete, so my body language is not stiff, it’s fluid, and if you go at somebody with a fluid body motion, there’s much less chance of a problem. Then I don’t think it matters if a guy is with a woman that he’s not supposed to be with or if he had a bad day, and it doesn’t matter if you’re ten or two feet away.
It’s true though that our culture is becoming ruder, and it has nothing to do with cameras. When you walk in the streets of New York or some other large city, people are always on their cell phones. If you collide with someone on the sidewalk, even though they probably walked into you because they’re not paying attention, they’ll turn around and tell you to go fuck yourself. To go back to your question, I don’t feel that way, because I believe that if you look for that problem, you’re going to bring the problem to yourself. It’s like going into a bad area and saying, “uh-oh, the guy’s going to pull a gun on me after I take a picture.” You can’t think like that otherwise you’ll never take a picture. I think that what I’m doing is fine. I’m not hurting anybody. And I’m doing it from my guts. I always feel that the people I photograph are my friends, even though I don’t know them. And they’re also symbols for what I see. It’s not like that person is that person. He or she reminds me of something else. It’s like being in a little movie.
ISP In speaking about films, you’ve mentioned that working with the moving image might be hard for you because you find raising money for projects to be difficult. You’ve also found this to be the case with your photography. How much has it helped you working with Magnum? You joined them in 1998. I think we can all imagine what a highpoint that was.
BG It helps in one way, and it doesn’t help in another way. Magnum helped me to get editorial work, which I had never really done before. But then with all this time spent at doing editorial here and there, I didn’t pursue the art market as much as I should have. Fortunately, I have been working on the Postcards from America project (I travelled to Milwaukee as part of it). Postcards is an ongoing collaborative project in which a loose group of photographers chooses a site that intrigues them and gathers there to play like a visual band. Postcards is a project on its own, but for me, as for many of the photographers involved, it’s also an experimental creative space, and it has enabled me to do very good work recently. In fact, without Postcards from America, I may not have started color. I participated in the first episode where the whole group of photographers stayed in one place. By “group” I mean ten or eleven photographers. We stayed in Rochester. And we had to have 100 pictures in two weeks.
ISP This was the project last year at about this time when you were with ten other Magnum photographers covering the decline of Rochester, NY in the wake of the partial halt in production at Eastman Kodak, which has its headquarters there.
BG Yeah, and I realized—wait a second— I can’t do 100 pictures in two weeks, especially when there’s no one on the street in Rochester! That’s why I started to do the portraits. So in a way it’s good because we’re all competitive and I compete with myself: when other people are working in the same area, you don’t want to look like a schmuck and have no pictures (he laughs). It’s challenging. I borrowed a Leica M9 from Leica and I started to do digital for the first time. I did a little digital in Haiti to photograph the houses the year before because I wanted them in color at night. In Rochester I did a lot of digital work because you’re able to see what your photographs look like right away. This gave me confidence to get to that mark—to that hundred mark. I’m not saying all 100 photographs are good, but it gave me confidence. It was encouraging because you had to get a hundred pictures in a place that you wouldn’t choose to shoot. With all of that combined, I also did black-and-white, and I think the strongest pictures from that take are formal portraits in black-and-white. Doing both color and black-and-white was good,
because there was also a guy who was developing our film. We’d shoot it on Monday, and we’d get it on Tuesday. We could see what we were doing as we’d go along. And then the next place we went to was Miami, where I started to use the Leica S camera, which is the mid-size that I’ve been using since. And everything’s been in color and digital.
ISP And what an interesting departure from the black-and-white candid work that you’ve become so famous for doing.
BG When you’ve been doing something for so many years, it’s always nice to have a change. When I did Foreclosures, no one thought I’d do houses.
ISP Yes, your new book, Foreclosures, is devoid of people. It’s a shocking change in subject matter.
BG I think change is important. How many years can you do the same thing? Look, you never get a perfect picture. But also as you get older things change. My form of photography is very athletic, and I can still do it ok, that’s not a problem. Of course, you can’t bend as low, and you’re not as fast. That’s the concession to age. On the other side, on the positive side, you have more experience. So you know how to get what you want. It’s sort of a balancing act.
The transition has been quite interesting because I’ve worked in Bogotá, I’ve worked in London, I’ve worked in Miami twice, I’ve worked in Milwaukee, I just got back from the Big E Festival in Massachusetts, I’m going to the state fair in Mississippi this month coming up. It’s exciting for me because I’d never worked in color. And I’m doing these intense color photographs of people—my kind of people, people who interest me. I have nice conversations with them. And I don’t like asking people to take photographs, because I’m basically shy and it’s very tiring. But I’m quite good at it. If someone wants to say, “No,” they’re going to say, “No.” But I enjoy it in a certain crazy way. And if you see the pictures, I’d be surprised if you didn’t like them. They are strong.
I can tell you when something’s good of mine; I can tell you when it’s not good. We all care about our work, but I think I’m pretty clear and open. In other words, if I didn’t do well, I can admit it. Not everything that has my signature on it is a wonderful picture.
ISP So there is also a modest side to Bruce Gilden?
BG No, no, look: I worked hard, and I stuck with it. I’m proud of where I am, because I didn’t have a silver spoon in my mouth where I started. I had no inclination to take pictures. I’m not a technician. Having said that, I know what to do to correct things in the field. I’m not ignorant technically. I’m more interested in the person. But the form has to be correct. A good picture for me is well-framed with a strong emotional content. My pictures aren’t loose—my good pictures. Like today, you see a lot of people, and their form isn’t very good. They’re just concerned about getting the image—what they want in the image, that person, or that emotion or something. But the image isn’t formed well. To me that’s not good enough.
ISP Do you think that’s largely a product of digital photography? Some have complained of laziness in framing since the rise of the easily erasable digital image.
BG It’s not just digital. It also may be a product of not learning your craft in a certain way. For example, when I started photography I knew nothing. I didn’t even know when you look in the finder that’s what you supposedly got. But I looked at tons of books and magazines. And I knew what I liked and I knew what I didn’t like. So if I saw a picture I liked, I would see how it was taken, try to find out from the perspective what lens was used. And then you go out and you say, “Oh, that photographer put a person in the front here. That’s pretty good.” So, you use that, but eventually—hopefully—you become yourself. For example, when I started, I was compared to Weegee, Arbus, all these other people. Now I’m just myself, because I take my kind of pictures.
ISP Now other people are compared to you. I’ve seen time and again in print mentions of your name as a point of comparison for someone else’s work.
BG I feel good about that. But everybody has to find their own way eventually. And some are strong enough to do it, and others aren’t. I’m appreciative of that, and it’s funny to read it, but it takes time. Eventually some of those photographers will be referenced as their own. If I’m a step beyond, sometimes someone’s going to be a step beyond me. It’s just the nature of the beast. Records, like in baseball, are made to be broken. If someone’s still shooting in my vein without improving in twenty years, they’re doing something wrong.
ISP You’re saying they have to develop their own eyes. This is something you spend time cultivating in your students. Can you talk to us a bit about Bruce Gilden the teacher? You travel the world for exhibitions, for photography festivals, like the upcoming Miami Street Photography Festival in early December where you will be featured. And you often offer these mentorship opportunities and intensive workshops that are very well-attended.
BG In the workshops, I’m very blunt and honest. And I’ve devised a little system, which I won’t talk about in detail, but it’s quite simple. People who come to the class, some of them, their pictures aren’t very good. And it’s not because of their style: I’m smart enough to see when someone has talent, and I don’t expect them to be little Gildens. I think the most important thing that I can tell them is to photograph something that you’re interested in, and to be yourself. Don’t listen to what anybody says unless you’re smart enough to realize that someone is telling you something that’s constructive—not destructive, because some people don’t want to see other people get ahead.
If someone has strength, I’ll give them assignments that will lead either in a direction to make their pictures stronger or in a direction that they haven’t been shooting. So it opens them up to something else that can help them get where they’re going, that I think they’re a little weak or they’re not paying attention to. If someone isn’t generally doing very good work, I started giving them assignments in my workshop two or three years ago that are usually basic portrait assignments. And I show them how much better their pictures are after they’ve done these portraits, which helps build their confidence. Some of them don’t continue doing portraits, and they don’t have to.
I’m very critical. If someone is good, they’ll know they’re good (he laughs) when they’re finished with my class. I also try not to be overly critical to people who just started photography and also the people who aren’t full-time photographers. If you are new, it’s a bit different than if you’ve been photographing 20 years. I always ask people, “Do you think your pictures are good?” I find that when people come into a workshop thinking they’re really good, they usually aren’t. Then we have to straighten them out. When I ask my students upfront, I get a sense of what needs to be challenged to help them improve. Look, I’m not a god, but I think I’m quite visual. It’s ingrained in my soul. I give a lot of myself. By the end of a workshop, I’m quite exhausted, because I’m open. You can take what I say and think it’s wonderful; or, you might think it’s crap. At least I’m honest. I’m not trying to knock you down just to knock you down. If you do good work, you’ll know it once you’re finished with my workshop.
There’s one guy in my class who has become a very good friend of mine. He’s a bright guy. People looked at his work and said, “Wow! He’s taking pictures like you!” He started to use flash and color. And the pictures are really good. But they’re not mine; they’re his. You can tell when someone’s imitative and when someone’s doing it because that’s who they are. I don’t have a thin skin about that. I think he’s talented. And he doesn’t even do photographs! Now he’s doing more of them. But before he was only taking pictures four times a year! Certain people have the spark, other people don’t. You have to deal with that. But if someone does something good, I tell them how good they are and how good the pictures are. We get into a dialogue. I think I’m pretty good at teaching, but I wouldn’t want to do it too often. I’m not going to be doing too many more workshops.
ISP You do have one coming up in December 2nd – 6th in conjunction with the Miami Street Photography Festival.
BG Yes, in Miami, which will allow me to return to these communities I’ve been photographing down there. This started with the Postcards from America. But I may not be able to continue shooting when I’m in Miami this time, because with the Leica S I have to have an assistant to hold the light for me. It’s very tough. The camera’s heavy. And to get the person the way I want, I couldn’t hold the light at the same time. It’s too much unless I was maybe Hercules. And I’m not.
ISP Is it difficult for you to not have the flash in your hand, to rely on somebody else for the flash?
BG No because we discuss how it has to be done. The difficult thing is if they do the light wrong. Portraits aren’t as difficult as candid street photographs. In the candid street photograph, no matter how much control you have, if you’re combining things in the image, anything can go wrong. The person in the background who you wanted to look left is looking right, for example. But still my portrait assistant in Milwaukee said, “Hey look at this portrait you took!” It’s, I think, about the best one I took on that trip. He said, “Look at the other five pictures that we took till we got to this one. Anyone who says shooting portraits is easy is wrong!” because in the other five pictures… the pictures are terrible. And then I finally got what I wanted. You have to be able to recognize that. You also have to pick how close you want to get. My pictures are close. And it’s not like you can pick anybody. I walked all day around the state fair, and maybe I shot ten people in eight hours. It’s also about them agreeing to have their pictures taken and you deciding how you want their attitudes. Do you want their eyes more open? Do you want them to look directly at the camera? It’s not as simple as it looks. Still when you come from a candid street photography background, it is more simple because you’re working with just the face. It’s different than when you’re working with ten people in a photograph or with someone who doesn’t know you’re taking the picture.
ISP With candid street photos, you often surprise your subjects. That shock of being randomly photographed can cause different reactions in your subjects, particularly when you use a hand-held flash. But in your new work, you don’t have to contend with not knowing how the sitter will react when you take the shot. People who realize they’re being photographed get an opportunity to prepare themselves mentally for the picture.
BG Yeah, but with portraits, people sometimes get too self-conscious. I don’t like smiley pictures. When people realize they’re being photographed, they have all sorts of different reactions. Some are funny. One lady I photographed in London—in Essex, actually—who’s portrait will be in the forthcoming London book, her daughter said, “Mommy, do it! Let him take your picture!” Her daughter was probably in her twenties. The lady got up, and she was so terrified of the camera her eyes bulged out of her head. I didn’t say a word, and she looked more and more intensely. Her daughter tried to put her at ease, but the lady was so stiff! And it actually made for a very interesting picture. So there are a lot of factors involved.
ISP You talk about your subjects as your “characters,” and whether it’s candid street photography or portraiture, there’s a truth of expression—an apparent unguardedness—to the people you choose and the ways you choose to frame them emotionally. This quality is lacking in the more prepared experiences that you’re talking about, like the smiley pictures. It seems to me that you have an aesthetic of sincerity. That honesty is of very high value to you artistically.
BG My honesty, my bluntness, probably comes from my past and my relations with my father—everything I found out (that he was a gangster) and how I found out (in that his tire store, the young Gilden realized suddenly, was devoid of tires). I had a tough emotional childhood. I didn’t realize it at the time, but I see that most people didn’t have my upbringing. At the end of the day, someone could look back at that kind of childhood and say, if they’re not strong, “Look what they took from me, my father and mother, emotionally.”
But they made me what I am, so I guess they gave me strength that I’d never realized until I was older I had. I was always a little different in that I had a lot of energy and was very athletic. I guess I was a little bit wild, but in a controlled sense. There was a lot inside that couldn’t get out.
Photography kept me alive in many ways. So I have that to put into pictures that I think a lot of other people don’t have. I think that gives my pictures strength. If someone else shoots in the same style, but they don’t have a certain background or a certain way that they related to their background, I think they’re not going to do the same kind of picture. That doesn’t mean that they’re not going to do a great picture. It’s just that I do my kind of picture. And other people do their kind of pictures.
Take street photography: it’s always been the stepchild in the artistic world of photography. But it’s probably the hardest type of pictures to do. That doesn’t mean a street photograph is a good picture and another one isn’t. It depends on how you do it. I’ve seen a lot of bad street photography, just like I’ve seen a lot of bad photography. There’re people that are good, and there’re people that aren’t as good. There was one kid I saw who was very good, and I have a feeling that he has very good potential to be really, really good. You just feel it. He wasn’t in my workshop. He was this young guy who, when I judged the Oskar Barnack Award, he got the Newcomer Prize—a Polish guy, Piotr Zbierski. I think that Zbierski has a talent that can’t be taught. He has it in his soul. The pictures of course are a little dark, they were black-and-white. I mean, dark in what he photographed, almost like a fairytale.
ISP Like a Grimm’s fairy tale?
BG Yeah, and they’re good! Most people don’t have it. He had it, and he was very young, 23 or 24. But I don’t know how he got to it.
ISP You mention his work is dark. Your work, too, can be dark in that you often focus on what people describe as “the dark side” of people. Your photographs gravitate towards extreme and criminal subcultures. You’ve been quoted as saying you like “bad guys” in reference to your continual return to this subject matter.
BG My father was a tough guy, so the apple doesn’t fall far from the tree.
ISP And while you are drawn to this character, you don’t romanticize it. Gangster culture, the Yakuza, the Russian mob, gangsters in the UK and Australia: you don’t romanticize them in the way that you shoot them whereas a lot of portrayals of gangster have this sheen of cool.
BG Yeah, because they didn’t grow up with it. I learned a certain type of respect, that you don’t ask questions. I often get along with people in that culture because I know never to ask a question. I don’t want to know, because if you know, you could be responsible for putting someone else at risk. And it makes sense to me because that’s how I grew up. Look, to me, (gangsters are) just like anybody else. In some cases they can be better because at least you know who they are and what they are. So other people, like for example a corrupt policeman or a priest who’s a pedophile, you go to them for security and then they violate that. I won’t call the gangster a “bad guy,” I’ll call him a “tough guy.” Look, people take what they can; they’re not going to take liberties with tough guys, because they’re tough. And they will take it with someone else. But the thing is, I look at tough guys and see that they’re human beings. And I like them, I generally like them. When I was in Australia with Mick Gatto, I had a great time! He was such a gentleman and a wonderful guy. Sometimes I have admiration for tough guys—some of them. But I’ve met some I don’t like also. Those who abuse their tough-guy-ness, who try to test you, you have to stay away from them. It’s like the regular population: some people are good, some people aren’t. And they do what they do.
ISP I see this aspect of your work not only as an engagement with your father, but also something that coheres with this critique of the economic system that I think your work mounts. Crime and criminals disrupt business-as-usual. And it seems like your work, in the most obvious way with Foreclosures, but also in your traditional street photography, poses real challenges to the way we see people as a culture, which is largely a function of economics. Your work looks where others don’t. Last year, as you’ve mentioned, at about this time you were covering the decline of Rochester, NY after Eastman Kodak cut 50,000 jobs. You’ve been
working on Foreclosures since 2008, documenting the fallout of the subprime mortgage lending crisis. You have been criticized for your use of surprise close-up flash photography in the city streets. You focus on people you describe as “the left behind” in your work. There is a truth, as we’ve mentioned, in this work often lacking in the prepared appearances of those who are ready to be photographed. That truth in itself seems to make a statement about the lack of sincerity in the visual world of ubiquitous advertising. To me, this is major source of connection in your work. Do you think your work has a central focus of economic critique?
BG I like people who tell the truth. I hate politicians.
ISP You recently photographed Anthony Weiner.
BG I photographed all of them—all the New York City mayoral candidates for the New York Times Magazine—and I liked all of them on a one-to-one basis. Some more than others. But they’re politicians.
But to return to the question you raise, I can’t talk as much about Foreclosures as I could have before, because when I was preparing for it I read about 20-25 books. But that was a few years ago. It was legalized thievery, what the government did (the subprime mortgage lending crisis and its aftermath). They repealed the Glass-Steagall Act. There were no regulations on a trillion dollar industry. And there was this fantasy that everybody should own a home. It was disgusting. So no matter what I or any other people can do, we can’t come up to the heights of that. Then we bail out the banks with taxpayer money. And then you read that this quarter Chase Manhattan made outlandish profits. I mean, come on now! Please! I’m not a fool. They say, “fool me once, shame on you; fool me twice, shame on me.” I come to the topic from that perspective. And like I said, the people I photograph are my friends.
I have always identified with the underdog. I’m not coming to this like some art director who plays in the street, then goes on to do something else. I come from the street. I’ve always been in the street. It’s something that attracts me. I didn’t have your average upbringing. My father didn’t exactly model good behavior or offer moral guidance. I had nothing to live up to and nothing I wanted to be. I didn’t have to go into my father’s business, which I used to drive a scrap metal truck for. But I didn’t have this background like I’m John Lewis, III or something. I was loose that way. I always felt that I was an underdog, an outsider. For me, you also have a certain freedom when you’re left behind in that way, because you’re not enchained or imprisoned. But I don’t have to make up a whole intellectual dialogue about what I do. I do what I feel to do… when I have the money to do it. And I’m pleased with that, with what I do. And if you’re comfortable you have a chance of doing it well.
And I also always identify with poorer people. But I’m not a bleeding-heart liberal, the kind that say, “Oh, I think she had a very bad upbringing, and that’s why she knifed you in the back.” No one’s going to knife me in the back if I can help it. I had a tough upbringing, and I survived. So I expect you to be able to survive.
I’m a realist. As a realist, you know the world’s a terrible place for many people. I don’t think it’s getting any better. The have-nots are going to be getting further and further behind. So many people are left behind by our political and economic system. And that’s the project of my Guggenheim: The Left Behind. When I was in Russia, I went 70km outside of Ykaterinaburg and I wondered, “What do these people do?” We live in New York City. If you don’t travel to see these things about the world, you may not know that people in certain countries and places are really left behind. And it’s getting worse. It’s not getting better. It’s a terrible thing. I feel better that I’m 66 and not 25. I feel bad for my daughter. Look at the ozone! Look at what’s happening with the weather now! And who’s doing it? So many people, and all just for money.
ISP I recently read a quotation from environmentalist Derrick Jensen that said basically that if
aliens came to Earth, systematically deforested the planet, killed 90% of life in the sea, we’d declare war on them. But for some reason when corporations do that for profit, it’s generally accepted.
BG Yeah, that’s a great statement! There are people who are helping the planet, people who are advancing medical research, people who are doing things that are helping humanity. And I find… well, I’m not big on the non-profit groups, though. I spent a lot of time in Haiti. And the one I really like is Médecins sans frontières. Most of the others just know how to waste money.
ISP I’m interested to hear what you think about the Occupy movement.
BG Occupy Wall Street? I went down to lower Manhattan for the protests, and I think you had the wrong people for the right job, at least here in New York. Half the people down there were high on drugs, running around, and playing flutes. They looked like they’d just rubbed their chests on the ground for the last three weeks and didn’t take a bath. It’s not that I’m against that either, it’s just that it was starting to go somewhere. I met a great lady in Las Vegas who runs it out there. She’s great. The Occupy movement elsewhere has been more successful. And I agree with them and with the premise. But the Manhattan protests were a mess. The problem is that a lot of the people in the tents and stuff are people who are… losers, for fault of a better term. They seem more interested in hanging out than getting things done. If you want real economic reform, you have to defeat these guys at their own game.
I believe in Machiavellian theory. Absolute power corrupts absolutely. Take that rebel who’s fighting against the government, put him in power, and he’s going to become the very thing he was once fighting against. When you get millions of dollars in front of you, how many people aren’t going to take it? I do prefer people who are—even if I don’t like their politics—who say what they’re going to do, even if I can’t stand it, like Bush (W.). I couldn’t stand him, but at least he said he would do this, and he did it. I don’t like Obama.
ISP In that you feel he’s insincere where you found Bush to be more genuine.
BG I feel like he’s full of shit. Look, he said he cares about the middle class and lower class. But even progressives don’t like him. Harry Belafonte can’t stand him either. And he’s always been a progressive who supported MLK, the Civil Rights Movement, all progressive agendas. He hates Obama. And I do too, because the guy walks with the swagger of someone who knows the street, which he doesn’t. He says one thing but does another in policy, too. He said we’re not going to dig for oil in America; we are. We’re going to get out of Afghanistan; and, we’re still there. In the foreclosure crisis, which I can talk about a little because of the research I did for my new book, he decided to keep Timothy Geithner as Treasury Secretary and Ben Bernake as Federal Reserve Chairman, who were responsible for repealing the Glass-Steagall Act (an act that had imposed financial regulation in the US, and that, once repealed, contributed to the economic crisis and its resulting financial devastation). And Geithner, whether he worked on Wall Street or not, has been working for Wall Street all along. He’s part of the reason that everything went so bad for the world economy! So if you want change, you’ve got other people to put in charge of the economy. He could have pulled in Volcker, who’s a smart, good guy in that field. No, I don’t like that guy (Obama). I can’t look at him. You know, I have my opinions. Those others guys are terrible, too. But he’s no different. He wouldn’t have gotten to be President if he hadn’t been pushed by somebody. I think he made backroom deals.
ISP Do you have any suggestions on how to get money out of politics?
BG Well, maybe you can’t. But to me the decision to keep Bernake and Geithner really sticks, because they were complicit in the whole financial collapse around the subprime mortgage lending crisis. So it makes no sense to ask them to be responsible for changing the problems of the economic system when they had a hand in creating those very problems themselves. How do you justify keeping people who support all that Clinton and Bush (W.) did? This all started with Clinton saying that everybody should own a home. But everybody should own a home who can afford it. Anyway, let’s get back to the subject.
ISP It is in a sense very much the subject of Foreclosures.
BG I’ll talk about my cat (he laughs). I have three cats! They’re very nice. Three Russian Blues. They’re sweet as sugar. They calm me. I pet them all the time, I talk to them. They’re my friends. Why don’t we move to the next question.
ISP After the discussion we’ve just had, this may be a jarring transition. But what do you think is the future for street photography? Here we have been talking about imminent environmental or financial collapse, so it seems like a strange question now.
BG I don’t think like that. I see what’s in front of me. I think the scary thing, not only for street photography but for the world, is that everybody’s becoming the same. The cities are more homogenous now, the shops. If you go, god knows where, you see a Starbucks. People wear the same clothes. The world is smaller. They all listen to the same music. People more and more are losing their individuality. And I think ultimately in a hundred, 200, 300 years, everybody’s going to look the same and be the same and maybe act the same. I’m stretching that now to make a point. Whereas I look for the differences, there’re people who look for the similarities. So it makes sense that there would be a change in what pictures look like. But I don’t know.
In 1888, Kodak first made it possible for a lot of people to take pictures. Now we have the digital age and the iPhone. Everybody’s taking pictures. Maybe more people are taking them now than then, but Kodak made it affordable then. Almost everybody can take pictures now. So it must have been quite cataclysmic when that first happened. The common man could all of a sudden take pictures. You didn’t have to pay to go to a studio photographer to take a portrait.
ISP But now the camera phones that you mention make choices for you. They make visual choices for you.
BG I haven’t seen that myself, but I’d heard that. And it follows along what I was saying: there’s going to be less and less individuality. If you look at the movies now, so many movies are about the effects; whereas, years ago, all the movies I liked were about relationships, emotion, love. If you listen to the music from years ago, doowop and so on, it’s about boy meets girl, boy loves girl, girl drops boy, boy drops girl. It was human! We are becoming less and less human. And one thing I don’t like: we’ve become so politically correct that people are afraid to do anything because—gasp!—it’s not the right thing to be seen to do. Yet they’ll do worse things, and they’ll be accepting of worse things.
So, to answer your question, I don’t know. But I think street photography will go on until there’s no more street. It depends what you mean by street photography, too. I said to a magazine once that in street photography you could smell the street, feel the dirt by looking at the picture. You’re seeing less and less work like that. Look at most photography today, and even if it’s good, you still can’t tell who took the picture. The average picture could have been taken by 500 people; whereas, years ago, if you saw a Cartier-Bresson, you knew it was a Cartier-Bresson. You see a Winogrand, you know it’s a Winogrand. You see an Arbus, you know it’s Arbus. A Weegee’s a Weegee. The best usually have a recognizable style, a personality.
Also, a lot of street photography is confrontational, unflinching. But people don’t always like to be turned upside down. To be confronted. To think, to feel. It’s more challenging to the viewer,
some people don’t like that. But I feel it’s important as an artist to show work that challenges. If we don’t show something just because it’s difficult subject matter, who’s going to know its there? If things need changing but they aren’t shown, they’ll never be changed. I’m not saying you’re going to make a difference anyway. Look at all the war photographers, and still we have war.
ISP What’s next for Bruce Gilden?
BG I’m working on my Guggenheim project, The Left Behind. I got a commission in the Midlands in the UK to do a similar project. A photopoche book, one of those pocket-sized books from France, comes out this November. The London book is out this November, too. It was commissioned by the Archive of Modern Conflict and is formally titled A Complete Examination of Middlesex. But ultimately, what’s going on in my life now and in the future is my family. My daughter Nina just turned 21 and is graduating from the School of the Museum of Fine Arts in Boston this year. My wife, Sophie, speaks better English than I do even though she’s French. She was a journalist for Libération in Paris and a radio host on France Inter. I have a good wife, I can’t complain. She’s intelligent, elegant, attractive. And we love each other. Twenty-two years. Some would say it’s impossible to stay with me 22 years, but she did it!
Hits: 1970
https://www.instagram.com/p/BuZjs_xBdf2/?utm_source=ig_embed
I have no idea who Jason Momoa is, but he sure likes his Leicas. Apparently he’s famous and he’s buddies with Lenny Kravitz.
Hits: 736
By Tod Papageorge from https://journals.openedition.org/transatlantica/7084
I first met Garry Winogrand at the beginning of 1966. Although I was a dozen years younger than he was, we quickly became close friends and, soon enough, were photographing together on the streets of New York. In the beginning, I found this a little strange; for me, making photographs was something to be done in private, if only because it required such tremendous concentration to have any hope of doing it well. But I soon realized that meeting with Garry and walking the streets with him didn’t mean that I would have to give up the idea of working autonomously: we simply spread out, typically separated by about half a city block, and worked independently. Manhattan was rich enough in photographic possibility that neither one of us felt constrained by the other: there was more than enough to see and be excited by. And then, every once in a while, we could stop and have coffee together and indulge in the pleasure of talking about what we’d seen, usually in the Museum of Modern Art café.
And so, one Sunday, on an early spring day about a year after we’d met, Garry and I found ourselves walking through the Central Park Zoo. I was 20 or 30 yards ahead of him when I noticed a handsome couple walking toward me—they looked like fashion models, in their 20s, both well-dressed—improbably walking with a pair of chimpanzees who were as immaculately attired as they were (the animals even wore shoes and socks). A New York City piece of strangeness, it seemed to me, strange enough to take a picture. So I did.
Then, bang!, I felt myself being pushed in the back away from this odd little group. A real shove, unfriendly, hard. And, of course, it was Garry, camera already up, making pictures, who’d done it.
Obviously, he was seeing something that I hadn’t seen, and what he was seeing was important enough to him that he was willing—for the first and only time in all the years that I knew him—to aggressively lay hands on me. I was shocked, of course, but once I saw that Garry, and not one of the Sunday strollers rushing by me, was responsible, I forgot about being angry or even irritated: he was my friend, I rationalized immediately, and must have had his reasons for momentarily acting as if he’d never seen me before.
By now, both chimpanzees were off the ground (as my picture shows, one had been toddling between the couple when I first saw the group), and I finally noticed that the man in the little quartet was black, and the woman white and blonde. I’d already recorded that fact with my eyes, I’m sure, but what it may have meant, or could mean, in a photograph, was something I hadn’t had the time or the consciousness to process.
Garry Winogrand, however, had obviously processed the fact: where I saw only the possibility for a joke that, at best, touched on the crazy-quilt nature of city life, you could say that Garry, by not so much seeing the group itself but instantaneously imagining a possible photograph of it, placed meaning, particularly as it might gather around the question of race, at the very center of what he was doing.
In other words, quite apart from whatever Sunday pleasure or notion of self-advertising had actually brought that couple together with those two animals, Garry’s quick mind construed from their innocent adjacency a picture (or the projection of one) that could suggest the improbable price that the two races, black and white, might have to pay by mixing together. He was speculating, of course, playing an artistic hunch, but a large and important enough one that he felt it was worth pushing his friend aside for. So he did what he had to do, and then, a moment later, I answered by making a picture of him standing by the same family group as they continued their stroll through the zoo.
Note Garry’s smile, like that of the cat who’d swallowed the canary, and also the stub of a cigarette sticking out between his fingers, which, with that grin, suggests a man deep into the moment, full of the pleasure of it, more than a truth-telling artist who had just produced an image that can arguably bear comparison with the best graphic work of Goya. For example, here, making such an argument, is Hilton Als, an African-American writer, describing this picture at the conclusion of an essay called “The Animals and their Keepers”:“In the photograph,” he says, “we see a white woman and a black man, apparently a couple, holding the product of their most unholy of unions: monkeys. In projecting what we will into this image—about miscegenation, our horror of difference, the forbidden nature of black men with white women—we see the beast that lies in us all.”
Of course, when he made this picture, Garry had no proof that it would mean anything at all. His film would have to be developed and, even then, he wouldn’t have photographs to see until he’d produced the small 1 X 1 ½ inch frames of each picture on a contact sheet that he could read one by one with a magnifying glass. In other words, as the digital age is now tempting us to forget, there was, and is, built into the usual photographic process a significant distance, both of time and physical immediacy, between an event and a photograph of it. This is a distance that, for Garry Winogrand, had virtually ontological implications, as suggested in the carefully chosen language of his well-known statement, that “I photograph to find out what something will look like photographed,” or, to elaborate it clumsily, “I photograph [at a given moment] to find out what something will look like photographed [when I eventually have the opportunity to study it in an undetermined future].” When Garry finally developed that film, then, it was not in the spirit of hoping to claim a masterpiece of photography, or simply a good picture (which never really interested him), but, in this particular case, to determine if the possible narrative he’d sensed in the three-dimensional, shifting space of the zoo had, in fact, been confirmed within the reduced two dimensions of his picture—in other words, to judge whether a photograph that more or less depended on a pair of well-dressed chimpanzees to become actors in a provocative, ambiguous tale had, somehow, in the shift from world to image, managed the feat. To put it another way: he was less interested in the ultimate “success” of the picture than in what he called the problem of making it, a problem he had consciously set for himself in the antic moment of pushing me out of his way. As he put it to a group of students a few years later, no doubt remembering this picture as well as others, “well, let’s say that for me when a photograph is interesting, it’s interesting because of the kind of photographic problem it states—which has to do with the . . . contest between content and form. And, you know, in terms of content, you can make a problem for yourself, I mean, make the contest difficult, let’s say, with certain subject matter that is inherently dramatic. An injury could be, a dwarf can be, a monkey—if you run into a monkey in some idiot context, automatically you’ve got a very real problem taking place in the photograph. I mean, how do you beat it?”
As it turned out, Garry never reached a conclusion about whether or not he’d solved the problem, or question, that the picture we’re considering here had posed for him. Although it has become canonical, and is, perhaps, the single photograph now most associated with his body of work, the fact is that, in his judgment, it remained an aesthetic question mark until he died. For example, “The Animals,” his first book, comprised of photographs made in zoos, was initially published in 1969, two years after he made the picture, yet it’s not included in the book, a piece of evidence, that, while not conclusive (since John Szarkowski was the publication’s principal editor), at least suggests that he wasn’t sure enough of it to insist that it be added. But he didn’t really worry about such things: there were too many other pictures to think about, too many kinds of lessons in his pictures to unravel and learn from, too many problems put into play as he made them. As he understood it, photography was much larger than he was, and his pleasure as an artist was to unremittingly study it.
As I’ve already stated, Garry was remarkably unmoved by conventional notions of success, even artistic success as typically measured by exhibitions and awards. “You learn from work,” he’d say, and, further, “I really try to divorce myself from any thought of the possible use of my photographs. Certainly, while I’m working, I want them to be as useless as possible.” Which, turned around, also suggests that, as he understood the issue, any one of them could be judged a success by virtue of the possible lesson it might teach him. Failure, as much as success, was an irrelevant concept to him.
Garry could be scathing and utterly dismissive in his criticism of other photographers, however, if their work failed to measure up to what he felt intelligent photography should be. For example, he scornfully rejected a body of work by one of his contemporaries that concentrated on a minority community in Manhattan, by saying that “You expect the people in his pictures to tap dance and eat watermelon,” proof of how aware he was of the power of photographs to reduce black subjects to smothering cliché. But he conducted his own personal investigation into the nature of the medium in what was effectively a judgment-free zone where his interrogation of photography and the making of his pictures were effectively one and the same activity: as I understood it then, and still do, he was the pure artist, or as pure as one could be who was committed to conducting his researches in the open-air theater of the corporal world. Also, he began to teach during this period (at virtually the moment I met him in 1966) and, as part of his teaching, to formulate the series of cryptic, but powerful, aphorisms about photography that, even now, any young photographer would be foolish not to commit to memory before considering the question of whether or not to reject them. So, yes, as the curator of this exhibition, Leo Rubinfien, quotes him as remarking near the end of his life in Los Angeles, Garry was a student of America. Yet, during his most prolific and creatively fulfilling years as a photographer in New York, I would suggest that he was more nearly a student of photography whose observation at the time that “a photographer’s relationship to his medium is responsible for his relationship to the world is responsible for his relationship to his medium” traces an eloquent circle of causation that begins and ends with the photographer’s deep identification with his medium. Certainly, during that period, when I was seeing him nearly every day, he was very much the genius/apprentice implied in that remarkable comment, instructing himself, exposure-by-exposure, about the many different ways photographs could look;how their frames might drop around his subjects, or even tilt as if the photographer was falling or out of control. And, more, how free he could be, and let his subjects be, to move and claim their place in his pictures as if they were expressing their own active agency, rather than appearing to be responding to the whip of the controlling, manipulating artist. In other words, working out a method of picture-making capable of appropriately serving his fierce understanding of whatever his subject might be, whether that was America. Or a beggar in the street. Or a pair of chimpanzees and their putative parents. As he said to a student who asked him what the purpose of one of his photographs was, “My education. That’s the answer. That’s really the answer.” And then, “My only interest in photographing is photography. That’s really the answer.”
For Garry Winogrand, it was foolish to pretend that a thing and a photograph of it were, in any useful sense, one and the same, and that the photographer could no more than minimally control the way his or her pictures of that thing would look. As he understood it, the lens and its unforgiving memory; the world, full of color and dimension; and the photographer’s own limited ability to absorb all of the information arrayed in his or her viewfinder from edge to edge determined an effect, the photograph, that would inevitably be different from the cause that created it, which is to say, the nominal subject of the picture, wild out in the world. “Photography is not about the thing photographed. It is about how that thing looks photographed,” he said. As a result of this understanding, he came to see that, far from trying to control, or even limit, that difference, it might be embraced as a way of enlarging the meaning of his pictures, by charging them with an irreducible trace of unresolved, still-sparking energy that, from picture to picture, could be seen to embody the very élan vital that prods and pushes us forward in our own daily lives. So that, in the end, the picture, in some real, physical sense, re-joins us to life, but life transformed, still palpable in its vitality (always decomposing, always rising) and, by being so, true to the chaos—or “monkey business,” as he often called it—that Garry Winogrand knew it to be.
Hits: 1138
“Have a point of departure” – Dorothea Lange (and Ralph Gibson)
Hits: 1249
…is up for sale by some guy on Ebay. 70K. Rest assured, it’s legit. Ms. Earhart was kind enough to sign some paperwork saying it’s her’s before she boarded her plane (the paperwork “almost like new”):
|
Im selling Amelia Earharts camera which was gifted by her to a family memeber in 1933 after returning back from a trip to Chicago with her Husband.
The camera has been in my family possesion since that time and has been in long term storage, the camera appears to be working correctly.
The hand signed card was personally signed by Amelia and given to my Grandfather along with the camera by Amelia Earhart back in 1933 in Rye New York
Everything is authentic , Ive known this camera all my life
the signed card is almost like new as it has been stored carefully
will post world wide
I would like the camera to go to a museum if possible.
Please note I have absolutley nothing to prove that this was in fact Miss Earharts Camera and research would need to be done to confirm such, I have absolutely no idea how to do that myself. From memory over 40 years ago my Father told me that she found it fidly to load, Miss Earhart may have studied Photography , my Grandfather had said as much and described her as a keen photographer , she preffered a Kodak folding camera as I recall being told a very long time ago. she was also described as very nice and down to earth,
|
Could be true, I guess, although it reeks of the typical “Third Man Camera” scam. Apparently, the same camera had previously been up for auction last year in Glasgow with a similar story:
A RARE camera which belonged to American aviation pioneer Amelia Earhart is to go under the hammer in Glasgow.The pilot’s prized possession will be just one of a collection of vintage and modern cameras to go on sale this month.
Around 120 lots belonging to photography enthusiast Ian Macdonald, from East Ayrshire, are to be auctioned off by McTear’s Auctioneers on March 24.The jewel in the crown is a Leica 1, which was gifted to Amelia Earhart by her husband George P Putnam.The black paint camera, which was made in 1929, is thought to have been given to Ian’s grandfather Wullie Macdonald when he worked for a cleaning firm that collected laundry from hotels and homes in New York.One of his jobs was to collect clothing from Earhart’s house in Rye and during a visiting in 1933, he commented on the aviator’s camera.
Earhart, who was the first women to fly solo across the Atlantic, told Wullie she preferred to use another model and gifted to him along with a signed card.It is expected to reach between £10,000 and £15,000 and includes a leather carry case, lens cap, range finder, two reloadable film cassettes and holder.
Ian said: “The story behind this camera is fascinating and of all the ones I own it definitely evokes the most emotion as it’s been in my family for so long.”My grandfather began the collection, then my father continued it until it was eventually passed down to me.”Over the years I’ve added to it but I feel now is the right time to sell and allow others to get enjoyment from these great cameras.”
“A Leica camera and accessories that once belonged to pioneering pilot Amelia Earhart, which is among a collection of Leicas, prototypes and other cameras due to be auctioned this month by McTear’s Auctioneers, Glasgow”
I don’t discount the possibility that the story is true and this was Amelia Earhart’s Leica, but my sense is it’s another half-baked scam designed to fool some hapless collector with more money than sense. You just need one, and God knows they’re plentiful in Leica land. However, if you’re going to command a $69,500 premium for the camera based on that claim, you’d better have the proof locked down. In this instance, the “proof” is his word based on a tall tale Grandpa Wullie told him and a signed note alleged to be from Ms. Earhart. While living in Los Angeles in 1923, Earhart did work in a photography studio; and she and a friend later briefly operated their own photography business. But there seems to be nothing in the historical record indicating Earhart used a Leica; on the contrary, all evidence points to the fact that she used a Kodak folding camera (the seller has cleverly noted the same in his auction). There’s also another guy claiming he owns Amelia Earhart’s camera).
It’s usually the specificity of the story which raises the red flags – the fact that the camera was special ordered by a Busby Catenach of Wawatusa, Wisconsin; or the father’s notes indicating some crucial fact, contained in a letter dated 1946 complete with return address and zip code (US zip codes weren’t used until 1963); or, in this case, the claim that the camera “is thought to have been given” to Amelia in 1933 and then by Ms. Earhart to grandpa in the same year because she found it “fidly to use” whereupon in went into his collector’s vault along with the signed note – yet the camera looks very well-used, presumably by Ms. Earhart.
And who the hell just gives an expensive Leica with all the extra goodies – given to you, no less, by your husband as a present – to the laundry man when he asks about it? Think of all the potential universes out there, and tell me with a straight face you can see that happening in one of them. [ Laundry Guy: “Nice Leica, Ms. Earhart!” Amelia Earhart: “Yeah, it’s a beauty. George gave it to me for my birthday. He’s such a dreamboat, that George. How thoughtful of him! Want it?” Laundry Guy: “You mean, like for nothing?!?” Amelia Earhart: “Yup. And, while we’re at at, allow me to sign a card for you proving it’s from me. Maybe it’ll help you sell it for scads of money someday after I get lost at sea!” Laundry Guy: “Gee. Thank you, Ms. Earhart!” Amelia Earhart: “No problem…and Wullie? Make sure there’s extra starch in Georgie’s shirts”.]
And don’t get me started on the signed note: it simply looks too good, all shiny and new, and in a plastic sleeve no less, a sleeve which wouldn’t conceivably be commercially available until the 80’s, and darn, doesn’t that note fit all nice and snug in that plastic sleeve.
In other words, if Mr. Ian MacDonald thinks he’s on the level (and he may), it sure appears Grandpa Wullie’s been telling him one heck of a story. And if you’d “like to see the camera go to a museum,” then ring up a museum instead of hawking it on Ebay. Just a thought. At least he’s considerate enough to wear white gloves when he uses the thing.
Hits: 1623
Leica has just announced a new Monochrom, designed by a “fashion designer.” Yup. The Leica M Monochrom special “Stealth Edition” is designed by Marcus Wainwright, founder and owner of “rag & bone”, a hipster joint in Chicago featuring “wildly flattering jeans, flowy [sic] dresses, cult-status booties, and general urban, monochromatic vibe” with “the simplicity of the ’90s played into some of the collection’s more delicate pieces like the slip dresses and lace separates and the Mary Jane shoes.” According the Wainwright, in addition to the Mary Jane shoes they’ve got “a lot of cool styles, from heavily quilted leather parkas to camel hair overcoats.” Apparently, the guys at Wetzlar feel this qualifies him to design a Leica that “glows in the dark:’
Marcus Wainwright’s design concept is the individual perfection of existing icons. In the case of the M Monochrom “Stealth Edition,” this means taking the discreet unobtrusiveness of the camera to the extreme. A special scratch-resistant, matte paint is used to make the surface finish as black as possible. Accompanying it in matching jet-black, the leather trim of the camera is made from an extremely smooth full-grain cowhide that also offers excellent grip.As a striking visual counterpoint, the most important engravings on the camera and lens are intentionally highlighted with a special fluorescent paint that glows in the dark. This enables faster setting of the aperture or focusing of the lens in low-light situations. The set includes a comfortable black fabric carrying strap, a metal front cap for the lens, and a certificate of authenticity. The edition is strictly limited to only 125 camera sets for the worldwide market, each of which bears a special serial number.The word “Stealth” describes the extremely discreet appearance of the camera, which is essentially characterized by its matte black paint finish, black leather trim, and the omission of color for all “unnecessary” details.
Marcus Wainwright and Leica – a perfect match.
Wainwright is also a dedicated Leica photographer who shoots with various Leica cameras, often in black and white using his M6.
Make of this what you will.
Hits: 1734
David Alan Harvey is an American photojournalist based in North Carolina and New York City. He’s been a full member of Magnum Photos since 1997.
Here’s an interesting excerpt from Harvey’s Instagram Feed, wherein someone was talking to him about purchasing a new camera before taking an upcoming workshop given by Harvey:
| c_e_g Wish I could but I don’t have that money since I’m currently saving for a new camera. I’m sure the workshop is awesome tho! Maybe for some other NYC happening … davidalanharvey@c_e_g For sure don’t spend that much money on a new camera! Cameras don’t take pictures. Best invest is to put yourself on a good project. Use minimalist gear. Phone camera good enough.? … vincentbgirardi think is misleading to say that they can achieve a great body of work with a iphone, maybe my quality standards are too high … davidalanharvey@vincentbgirard I think it depends on where your standards for ” quality” lie. Technically an M10 is better than an IPhone. Yet with an iPhone you can probably get more natural moments davidalanharvey@vincentbgirard For the type of work I do which is mostly getting inside with people I know I could totally do my type of magazine assignment with an iPhone and you wouldn’t know the difference . Go to my book on Rio. Based on a True Story and tell me which pictures were taken with iPhone and which with Leica. I used both. It’s a large format book and you’d be hard pressed to tell me one from the other. So from this view I certainly was not trying to mislead . … vincentbgirard@davidalanharvey in terms of photo documentary i guess is ”ok” but can we achieve a fine art print with a phone camera, this is debatable. Anyway i’m happy to hear you about it … davidalanharvey@vincentbgirard For large fine art prints a larger file or film is of course preferred. I’m using the GFX for this reason, shoot medium format film, and make darkroom prints for some collectors. Yet that isn’t what the discussion was about. Your work from what I see on IG anyway is mostly street photography and cd be done w the phone. I will say that at fine art print auctions I’ve seen everything from tintypes to Holga to Polaroids. But this started out as a chat about SEEING pictures in the first place. Have you seen Mike Brown book Libyan Sugar ? All shot w the iPhone 4!! In your case for sure you need to be thinking about what it is you are trying to say. Looking at your IG stream I would have no idea. No authorship or style or focus. Get that down and then choose whatever camera works best for you. Yet it still comes down to the PICTURE. A poor picture with hi res is still a poor picture. |
Hits: 4784
A sloppy, irresolute photo taken with a film cameraPhotographs are everywhere, and it’s easy to lose sight, or not even see, their reality as things in themselves. Most people have a simple way of understanding photographs, as reflections of existing states of things. The belief is this: photos represent the world itself, even if they are windows from a particular point of view; the photographic world and the world out there are essentially the same. I call this the ‘naïve’ view of photography.
This naïve view begs the question, of course, of what to do about black and white photography. Most things “out there in the world” are not exclusively black and white or tones thereof. So, black and white photography, even within a naïve view, is an abstraction.
What of color? Well, we can agree that the color of the scene presented doesn’t miraculously transfer itself onto a roll of film or a sensor. The process of “reproducing” color photographically is a transcription, the same as any other image making process, an attempt to ‘re- create’ a state of things via an abstraction. Like any abstraction, what is transcribed and the transcription itself will always vary to some extent even when the intent is to be as “accurate” as possible. How its ‘re-created’ is a function of two things – the choices and skill of the photographer and the potential offered by the tools one uses.
So, if photos are abstractions, we have to, in the jargon of semiotics, ‘decode’ them (make the intention behind them understandable), because ultimately photographs are about communicating something. How do we do that? As a photographer and not a philosopher, I’d suggest that a successful photograph is one where the photographer’s intention has been realized, where a human’s intention overrides any intentions inherent in the camera itself.
*************
Vilém Flusser was a Czech born philosopher of language and communication who wrote verbose philosophical tomes no one reads anymore, assuming they ever did (that’s him, above). In 1983, prior to the digital age, Flusser wrote Fur Eine Philosophie der Fotografie (Towards a Philosophy of Photography) in which he argues that cameras themselves have intentions (I presume, were you to cut through the ponderous academic jargon, he’s really talking about camera manufacturers driven by profit motives). He lists them as follows:
All of which is to say, in common parlance, that the photographic tools you use and the capabilities they offer you will tend to structure the types of photographs you produce with them, by naturally pushing you in the direction of utilizing what they (the photographic tool), not you, might do best. Examples of this phenomenon would be the “bokeh” craze currently all the rage with a certain type of gearhead, or the current fetish for sharpness, where the benchmark of the “quality” of a photograph is determined by how resolute your corners are.
Maybe it’s just me, but photographic aesthetics seem to have changed markedly since the inception of digital photography, to my mind for the worse. Optical characteristics have increasingly replaced emotional resonance as the criterion of a “good” photograph, the result of a repressive stranglehold of sharpness and resolution on the photographic imagination which is itself driven by the particular characteristics of digital capture. Flusser would say that the camera has made use of the photographer, its intentions having triumphed over the potential intentions of the human, the result of the inevitable feedback loop between tool and user. I would add that, as far as creative possibilities are concerned, this is a step back rather than a step forward.
*************
Of course, you could argue that the same logic applies to traditional film photography, and you’d be correct up to a certain point. The types of photographs you’re able to take with film also structure the results you get. With film photography that structuring typically takes the form of limits on what you can do, circumscribing your ability to take photos in certain situations or producing results within a limited aesthetic spectrum, setting the parameters within which the photographer must work as opposed to actively pushing him in a certain direction. There’s a big difference.
Above is a photograph by Antonin Kratochvil, a Czech born photographer and a personal favorite of mine. He’s long been known in journalism circles for his idiosyncratic approach, both technologically and aesthetically. Fellow photographer Michael Perrson describes seeing Kratochvil in a Croatian refugee camp using two old Nikons with beat-up, generic 28mm lenses, cameras “that looked like they could no more be traded for a pack of chewing gum than be a tool to make professional photos,” other photographers snickering at the Eastern European hack. Pictures he shot there would find their way into Broken Dreams, his award-winning monograph of the ecological devastation of Soviet era Eastern Europe.
As Perrson notes, what makes Kratochvil a great photographer is not his equipment but rather his unique sensibility. “He believes in the craft of photography, the skill and the ability of the photographer not to let his tools control his actions.” This simplicity releases in him the freedom to see things in unique ways. Kratochvil himself laments the ever-increasing incursions of technology into the photographic process – “technology has made it so that anyone can take ‘competent’ photos. It follows that if anyone can do this, where is the respect?” For Kratochvil, the camera is simply a tool; seeing is what’s important, and a given state of technology should never compel you to see the world in any given way.
Kratochvil strikes me as a very wise man in addition to being a superb photographer. But I’m certain that most smug digital technocrats, those whom digital precision and technical perfection have led by the nose, will find his work naive and technically amateurish, as if that was the sole criterion on which photography might be judged. Such dismissiveness is the tribute the inadequate pay to the articulate.
Hits: 372
A Leica III camera belonging to Alberto Korda, he of the famous photo of Che Guevara looking revolutionary, is currently for sale on the Dutch auction website catawiki.nl.
The Leica III is being sold by Korda’s son, Dante, who describes the camera as follows:
My father, Alberto Korda, was one of the few cuban photojournalists responsible for capturing the world’s attention with the Cuban Revolution Propaganda. He followed the Cuban leaders around and became Fidel Castro’s personal photographer for more than a decade (request from Fidel Castro, who was one of his admirers). My father’s passion and exceptional skills as a photographer made every event of the revolution a magnificent moment, a genuine representation of an era of changes and beauty.
This camera was one of the favorite cameras of my father. My father actively used this camera in the fifties and sixties and kept it the rest of his life. That’s why it’s likely that my father took with this camera one of the world’s most famous photo’s ever made. The iconic image of the freedom fighter Che Guevara.
Accompanied by a certificate of authenticity and provenance from Dante Korda
Unfortunately for Dante, this is not the camera his father used to take the iconic shot, which was taken with a Leica M2.
Korda took the photo on March 5, 1960, at a funeral service for Cubans killed when a ship carrying arms to the revolutionaries in Havana sunk. He attended on assignment for the newspaper Revolución, carrying a Leica M2 with 90mm. Castro, Jean-Paul Sartre, Simone de Beauvoir and Che were on the speaker’s platform. When Korda approached the platform, he immediately noticed Che. “I remember his staring over the crowd on 23rd street.” Struck by Guevara’s expression, Korda lifted his Leica M2 loaded with Plus-X and took just two frames — one vertical and one horizontal — before Che turned away.
Hits: 2440
