Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts


I was sitting with the kids at the salon while my wife got her hair cut, rifling through the October National Geographic looking for pictures of wildlife or mummies when I stumbled across this William Albert Allard color photograph that took my breath away. "Henry Gray, Arizona, 1970," it was called. Then it said: "Henry ran cattle for 50 years on the Organ Pipe Cactus National Monument desert country. He was 72. The government wanted his cattle off the land. As we moved about the house, Henry paused, lost in his thoughts, behind him a 48-star flag."

I need to subscribe to National Geographic again.

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This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.


When I was in Virginia last week UVA photography professor William Wylie was in charge of looking out for me, and while I was waiting to talk to a group of students he showed me some of the equipment they use and a book of his photographs published last year, Carrara, which included some really lovely black and white photographs of the world-famous marble quarry at Carrara in Tuscany and a number of color portraits of the men who work there. When my wife and I were in Italy a few years ago her cousin from Lucca pointed out the quarries on a drive to the Cinque Terre, and he told us that the prized marble had been being extracted from the hills there since before the Roman times and that Michelangelo found the prized stone for his David there (I vaguely remembered some scene from a pre-adolescent reading of The Agony and the Ecstacy set in Carrara). Much of the late Roman forum was built of Carraran marble. And perhaps most importantly, at the beginning of the most recent James Bond movie, Bond drives his car through the quarries while avoiding the bad guys.

I recall William or someone else saying something about how the marble is nearly gone, and if so he has lovingly documented a dying industry. I really, really liked his portraits of the workers there. I have been working on a few portrait series myself behind the scenes here in Detroit and the work is much more challenging than the architectural stuff I usually do. I love the straight on, full-body portraits of the men in their work clothes, all of them coated with a fine patina of white marble dust. That's how my dad always looked after a day in the shop.

 These men are Italian, so of course there is some worthy fashion going on here (check out that pink shirt and the jaunty hat on the last guy). They sort of remind me of the early Sartorialist portraits, except these are guys I can actually admire (instead of wishing I could push them into an open manhole cover). Wylie uses an 8x10 camera and the quality and craftsmanship really shows in the actual prints. The marble makes one hell of a backdrop.

 

Spending weeks in the Tuscan countryside, eating, drinking, taking large-format photos of hunky Italian marble cutters in a historic location. . .how many times do you bet he's been asked how he got that gig?

Here's a short video he shot on location:




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This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.




I read some story a last week about a guy in the Pacific Northwest who maintains one of the last fleets of film photo booths around, and how the number of booths still operating nationwide was depressingly low. We were big fans of all the photo booths at the Santa Cruz Beach Boardwalk and my wife lost a mitt full of our developed shots when she left her wallet in some Lebanese Restaurant years ago. So I was disappointed when I took the kids out to Marvin's Marvelous Mechanical Museum only to discover they sold their last film-based photo booth to some eccentric millionaire dressed all in red who took it with him when he moved to Nashville with his supermodel wife.  All they had was one of these digital booths that spits out a print in ten seconds and it's not even close to the same. At least Japanese purikura give you hello kitty-esque options. And this raggedy Mac camera application doesn't cut it either.

Then I read this morning that the Henry Ford museum is digitizing their photo collection and putting it on Flickr, starting with a promising collection of vintage photo booth portraits. I've wasted countless hours in the Library of Congress' digital photo archives and I love it when universities and smaller museums put their collections online, so I'm pretty excited about the Henry Ford doing this (I am a bit obsessive about Henry Ford lore so I hope some of his personal photos go up there). I hope they add to the photo booth collection as well.

Most of the people in these photos are anonymous; some are famous, or rich, or powerful, but you wouldn't know it from their faces. The photo booth is the great equalizer. It reminds us that to its unwavering eye we're all pretty much the same.




This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.



I recently came across some of Jennifer Ray's photography and I really love it. She is attracted to the same sort of fringe, temporarily human-less urban/wild landscapes that inspire me, and I feel like she photographs them in a really interesting way. For her latest series, she figured out where DL gay guys meet up in the woods at night to have random sex and then she goes during the daytime to take flash-lit pictures of these places. I'm not sure how I feel about manipulating objects for photos (I never do it, and I'm sure there's a much bigger debate among documentary and fine art photographers on the subject) but I like the results in Ray's Go Deep Into the Woods series.




In truth, this post is mostly an excuse to tell the following story:

When I was in college, I started this hiking and camping student group and as part of it I created a guidebook to all the local nature preserves and hiking areas. For a few weeks after class and work I went out to visit the ones I'd never been to so I could map them and do a writeup for the guide. One day I went to this nature area really close to where my father grew up, and where my grandmother took my sister and I for walks when we would stay with her as kids. I changed from my work clothes into something more suitable for hiking and I after I got out of the car I started to get a weird vibe from a couple of middle-aged guys hanging out in the parking lot. I was a pretty naive kid, and undeterred I set out on one of the hiking paths and noticed that both of them were following me pretty closely, a grizzled-looking white guy and a fat black guy. I turned a corner and took off at a sprint and soon stumbled across a man sucking a dick in this little grotto. It was very Something About Mary. The guy on the receiving end was clutching a straight porn magazine in his left hand and staring at it intensely. I took off, blazing a new trail in a direction far enough to loop around the two guys who were following me but that would generally get me back to the car as quickly as possible. I even picked up a stick out of some primal urge to defend myself.

I had always felt so comfortable in the woods but suddenly they were terrifying and foreign. If there were rules for conduct in this forest I didn't know any of them, and it was clear that my behavior in the parking lot had given these guys the wrong impression. I had gay friends and coworkers and it wasn't the gayness that terrified me, but the fact that this was clearly a place where ordinary social conventions broke down, where my rules didn't apply, and where sex and lust were tangled with the secrets of trees. Though the woods were littered with used condoms, pages ripped from porn mags, and moldy clothes, this was the wildest place I had ever been.


Later that week I asked a gay guy I worked with about it, and he explained the whole culture of cruising men with wives and lives that didn't allow them to be gay going to certain places to have their sexual needs met (and I finally understood that those stalls at highway rest tops had those holes drilled in them---as Ricky Gervais said---for the guys who "love cocks, but hate faces"). A lot of this stuff became part of the public discourse during the Sen. Larry Craig bathroom scandal, and it seemed like this was behavior particular to older generations and it was growing out of favor through the use of the internet and greater tolerance for homosexuality in general. And while Jennifer Ray may be documenting a scene on the decline, I doubt it will go away altogether.




Looking at Ray's photographs, outside the context of terror and confusion I felt that day, I am startled by the realization that these repressed gay men, through their primal desire for sex, have returned a sense of wildness to the woods; through these procreative urges, they remind us that every forest is full of frustrated reproduction: spores and seeds that find no fertile earth, gametes that find no carpels, rhizoids with no anchor. And that's just the way a forest works.


This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.







[click here to see the above photo in all its glory]

Dylan Vitone's massive 360 degree panoramas were the talk of the David Weinberg Gallery's opening in Chicago the other night, for good reason. The photos were so filled with life. I find some portrait photography to be forced and sometimes even exploitative, but Vitone's panoramas are so populated by beautiful people and the vibrant city itself that everyone was just walking around smiling. Most of the photos in the show were taken in Pittsburgh (one of my favorite American cities) and this one, in particular, made me want to try out the panorama effect in my dad's auto body shop (just for fun). Vitone's panoramas take hours to compose and sometimes contain the same subject more than once, even though they look like a 360 degree moment in time.

The show was really nice. I was the youngest and least-experienced of the three guys whose work was displayed. Jay Wolke's 1980s shots of life along the Dan Ryan expressway in Chicago , of course, were huge and beautiful and inspiring as well.




This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.


I've made no secret of my love and admiration for the works of James Agee, Walker Evans, and Helen Levitt, all close friends. And now, at age 95, the last of those three great artists is gone. Our friend Amy in Durham, NC (who has worked with Levitt's past publications) e-mailed me first thing this morning to tell me of Ms. Levitt's death. Then Juniper and I spent the morning once again looking through In the Street and then headed out to the sidewalk with a bucket full of chalk.



This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.







I have been enjoying the documentary photography taken by people in other post-industrial rustbelt cities that I have been able to find on flickr (obviously I feel some kinship with other people who find this sort of thing interesting). I have particularly enjoyed browsing through El Rebelde's photos of Cleveland, and when I saw this recent photo of a glove being devoured by moss I had to share it. This summer I spent so much time taking pictures of the way nature was slowly taking over the works of men, I find myself a bit stumped now that winter is here and the foliage is dormant.



This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.






SOURCE: Daniel Shea's Flickr

Photographer Daniel Shea (recently of Baltimore, now Chicago) does an amazing job capturing life in the sorts of places most people would prefer not to see. I find it incredibly inspiring. This photo is one of the most incredible, I think I like it because unlike some of the others it wasn't obviously posed (and yet maybe it was?) Either way, the ambiguity is pretty cool---just the possibility that this scene happened just like this without provocation is enough to keep me carrying my camera everywhere I go.



This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.


Kenro Izu

Posted by jdg | 10:58 AM | ,





Kenro Izu, Angkor #71, source

I had the opportunity to meet the photographer Kenro Izu and attend his lecture on Sunday at the Detroit Institute of Arts (this photo won a contest related to his exhibition there). Izu takes photographs of "sacred places" around the world, mostly ruins. He uses a special large format camera he had made custom thirty years ago. The camera weighs 300 pounds and takes an hour to set up and Izu has dragged it to extremely remote mountan tops in Tibet and deserts in Western China (often using mules). He can only carry 80-120 unexposed sheets of film (14x20 inches in size) so he has to be very precise about what he photographs. He then returns to New York where he makes contact prints without enlargement and brushes on a coat of carbon pigment or platinum or palladium, much like Edward Steichen or Paul Strand might have done a century ago. It's a very anachronistic and expensive method to labor under in this digital age. But the finished photographs are beautiful.

During the lecture, Izu showed a photograph he'd taken of a fading Hindu temple in Varanasi. He told the story of watching a nearby cremation, how for three hours the relatives of the deceased sat around laughing and poking the embers and turning the body until all that was left was ash and a hip bone that were then swept into the Ganges. In heavily-accented English Izu described with forgivable cliche how this made him consider the impermanence of the human condition, one second you're here and the next you're gone, dust to dust and all that.

Then Izu started talking about the photograph itself, how busy the city had been and how he had to divert traffic behind him, around the site he was trying to photograph, and how some stragglers and a cow happened to walk their way across the exposing field of the camera's vision, though in the ten-minute exposure they never even appeared. For a few seconds they were there, but then in the developed photo they were nowhere to be seen, as though they had never even been there.



This blog is intended solely to share the things I come across that inspire me. If I have posted a copyrighted image, I have only done so to the extent necessary to comment upon or discuss it; I will always include a link to the original source of the image if that source is online or acknowledge the source if it is in print. If I have reproduced anything of yours here that is copyrighted and you want me to remove it, please do not hesitate to contact me and I will do so right away.