Carl Van Vechten moved to New York in the early 20th century and became “violently interested in Negroes”. As part of that interest, Van Vechten got to know many of the leading black figures in the city and photographed them, first in black & white but later in vibrant Kodachrome. Almost 2000 of his color photos are available at Yale’s Beinecke Library (direct search). Pictured above are Van Vechten’s photos of Ella Fitzgerald, Eartha Kitt, W.E.B. DuBois, Dizzy Gillespie, and a young James Earl Jones. (via the new yorker)
John Francis Peters photographed San Diego cliff jumpers for a series he calls Falling. My favorites are the shots where he catches the jumpers in mid-air, before they hit the water. On the cusp, just like that Nirvana video from yesterday. A book of the photographs, published in a limited edition of 300, is available.
I had heard months ago that Errol Morris was releasing a new documentary called The B-Side but couldn’t really find any information about it (it’s not even listed on Wikipedia). But the film is being screened soon at both the Toronto and New York film festivals, so some information is filtering out there. The film is about photographer Elsa Dorfman, who is known for her use of the large-format Polaroid 20” x 24” camera. From the description of the film on the New York film festival site:
Errol Morris’s surprising new film is simplicity itself: a visit to the Cambridge, Massachusetts studio of his friend, the 20x24 Polaroid portrait photographer Elsa Dorfman, who specifies on her website that she likes her subjects “to wear clothes (and to bring toys, skis, books, tennis racquets, musical instruments, and particularly pets…).” As this charming, articulate, and calmly uncompromising woman takes us through her fifty-plus years of remarkable but fragile images of paying customers, commissioned subjects, family, and close friends (including the poet Allen Ginsberg), the sense of time passing grows more and more acute. This is a masterful film.
“My style of photography is very literary,” she says, “influenced by Ginsberg’s poetry in the acceptance of detail, everydayness. What you’re wearing is okay and who you are is okay. You don’t have to be cosmeticized.” For her portrait clients, she took two pictures. The client got one and she kept “the B-side.” For music fans, the B-sides of vinyl singles had a reputation for being unpredictable and extra precious. The same can be said for Morris’ touching portrait of Dorfman.
Sounds great…I’m definitely keeping an eye out for a trailer and release dates.
During the medals ceremony for the 200 meter race the 1968 Olympics, gold medalist Tommie Smith and bronze medalist John Carlos, both standing shoeless on the podium, each raised one black-gloved fist in the air during the playing of the US national anthem as a gesture in support of the fight of better treatment of African Americans in the US. It was an historic moment immortalized in photos like the one above.
Norman was a white man from Australia, a country that had strict apartheid laws, almost as strict as South Africa. There was tension and protests in the streets of Australia following heavy restrictions on non-white immigration and discriminatory laws against aboriginal people, some of which consisted of forced adoptions of native children to white families.
The two Americans had asked Norman if he believed in human rights. Norman said he did. They asked him if he believed in God, and he, who had been in the Salvation Army, said he believed strongly in God. “We knew that what we were going to do was far greater than any athletic feat, and he said “I’ll stand with you” — remembers John Carlos — “I expected to see fear in Norman’s eyes, but instead we saw love.”
Update: In 2011, Democracy Now! interviewed Carlos about the salute and the aftermath. He was joined by sportwriter Dave Zirin and the pair told a story about why Norman didn’t want to be represented alongside Carlos and Smith with a statue on the San Jose State campus:
DAVE ZIRIN: OK, just checking. Well, they made the decision to make this amazing work of art, these statues on campus. And they were just going to have Tommie Smith and John Carlos, with a blank space where Peter Norman stood. And when John heard about that, he said, “Oh, no, no. I don’t want to be a part of this. And I don’t even want this statue if Peter Norman’s not going to be on it.” And the people at San Jose State said, “Well, Peter said he didn’t want to be on it.” And John said, “OK, let’s go to the president’s office and get him on the phone.” So they called Peter Norman from the president’s office at San Jose State, and sure enough, they got Peter on the phone. I believe Peter said — what did he say? “Blimey, John”? What did he say?
JOHN CARLOS: Yeah, “Blimey, John. You’re calling me with these blimey questions here?” And I said to him, I said, “Pete, I have a concern, man. What’s this about you don’t want to have your statue there? What, are you backing away from me? Are you ashamed of us?” And he laughed, and he said, “No, John.” He said — you know, the deep thing is, he said, “Man, I didn’t do what you guys did.” He said, “But I was there in heart and soul to support what you did. I feel it’s only fair that you guys go on and have your statues built there, and I would like to have a blank spot there and have a commemorative plaque stating that I was in that spot. But anyone that comes thereafter from around the world and going to San Jose State that support the movement, what you guys had in ‘68, they could stand in my spot and take the picture.” And I think that’s the largest thing any man would ever do. And as I said, I don’t think that my co-partner, my co-heart, Tommie Smith, would have done what Peter Norman done in that regards. He was just a tremendous individual.
BTW, I am really liking Instagram Stories. Yeah, sure, Snapchat rip-off blah blah blah,1 but Insta nailed the implementation and my network is already all there, so yeah. I’ve been posting occasional Stories, which you can see if you follow me on Instagram.
And yes, like Craig Mod, I use Instagram’s website many times a day. What percentage of their users even knows they can check Instagram on the web? 50%? 30%? 10%?
The “Instagram ripped off Snapchat” narrative conveniently ignores that Snapchat has been praised in recent months for quickly backfilling functionality of services like Instagram. So, spare me your tiny violins.↩
A cute Ikea ad imagines what Instagram might have been like in the 18th century…it involves a painter and a lot of driving around in a carriage soliciting likes.
Photographer Oliver Curtis visits famous landmarks and takes photos faced the wrong direction, capturing essentially what these landmarks see all day. From the top, the Taj Mahal, the Wailing Wall in Jerusalem, and Stonehenge.
Beginning in 1904, Edward Curtis travelled around North American for more than 20 years photographing Native Americans. While his collection of over a thousand photos housed at the Library of Congress isn’t a precise record of how American Indians lived at the time (he took some liberties in romanticizing the past), it is nonetheless a valuable record of a people largely marginalized by history. (via open culture)
Sad news from the NY Times: legendary street fashion photographer Bill Cunningham has died today at the age of 87.
In his nearly 40 years working for The Times, Mr. Cunningham operated both as a dedicated chronicler of fashion and as an unlikely cultural anthropologist, one who used the changing dress habits of the people he photographed to chart the broader shift away from formality and toward something more diffuse and individualistic.
At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top wearing Voguers. Up in Harlem, he jumped off his bicycle — he rode more than 30 over the years, replacing one after another as they were wrecked or stolen — for B-boys in low-slung jeans.
I saw Cunningham out on the streets of NYC twice and both times chills ran up my back watching a master at work. Unless Cunningham had something in the can before he died, it looks as though the last of his On the Street features is about black and white fashion. Tonight might be a good time to watch the documentary Bill Cunningham New York — it’s available on Amazon (free with Prime).
Thomas Leuthard takes us around Salzburg and demonstrates a number of tricks you can employ to take photos on the street. Tricks sounds too gimmicky…think of these as potential approaches to being creative with a camera. Watching this made me want to start taking photos again. Before I had kids, I carried a camera pretty much everywhere.1 I still do (in the form of an iPhone 6s) but I’m not hunting for photos in the same way.
And, somewhere on my hard drive, I have dozens of photos I took in Salzburg with that camera during a 2006 trip.↩
Photographer Bill Yates spent months documenting the happenings at the Sweetheart Roller Skating Rink in Florida in the early 1970s. After a successful Kickstarter campaign, Yates is publishing a book of the photos.
Famous for her forlorn images of Dust Bowl America, this pioneering female photographer was hired by the War Relocation Authority in 1942 to document the removal and imprisonment of Japanese Americans. Although her skill at candid portraiture was unparalleled, “Lange was an odd choice, given her leftist politics and strong sympathy for victims of racial discrimination,” writes scholar Megan Asaka. The position was a challenging one for Lange as well. “Appalled by the forced exile, she confided to a Quaker protestor that she was guilt stricken to be working for a federal government that could treat its citizens so unjustly.”
The WRA initially gave Lange little instruction about where and what to shoot, but controlled and censored her while she was at work. When documenting life inside the assembly centers and concentration camps, she was prohibited from taking shots of barbed wire and bayonets. Unable to tolerate this censorship and her own conflicted feelings about the work, Lange quit after just a few months of employment with the WRA.
Less ashamed at what they’d done and more worried about PR backlash, the government embargoed Lange’s photos until 1972.
If this all makes you think of some recent comments about Muslims from a certain Republican presidential candidate, history may not repeat itself, but it sure does rhyme.
So did photographer Toyo Miyatake, who was among the prisoners at Manzanar.
The exclusion order forced Miyatake, his wife and four children, to the concentration camp at Manzanar. He was able to store his photographic equipment but managed to smuggle a camera lens and film plate holder into the camp against government orders. Miyatake told his son Archie that he felt it was his duty to document camp life. An Issei carpenter in camp constructed a box to house the lens, and Miyatake was able to get film into camp by way of a hardware salesman and former client. The photographer eventually asked camp director Ralph Merritt if he could set up a photo studio, and Merritt, who learned about Miyatake from Edward Weston, consented with the provision that Miyatake only load and set the camera, and a Caucasian assistant snap the shutter. Eventually, that restriction was lifted, and Miyatake was designated official camp photographer, and granted the freedom to take photos of everyday life at Manzanar.
Miyatake and Adams met at the camp and began a collaboration. Lange and Adams were friends — he printed Migrant Mother for her — and she was instrumental in convincing Adams to document Manzanar. But she was also critical of his detached approach:
In 1961, Lange said about Adams’s taking landscape pictures at the Manzanar Relocation Center: “It was shameful. That’s Ansel. He doesn’t have much sense about these things.”
Photo retoucher Jordan Lloyd took old photos of famous buildings and monuments being built and colorized them. The Eiffel Tower is the best one, but the others are worth a look as well. I also like these two colorized views of the Golden Gate Bridge construction (not done by Lloyd):
Lloyd and Wolfgang Wild are collaborating on a book of colorized historical photographs called The Paper Time Machine. You can support the project on Unbound.
The Misplaced Series removes notable New York buildings from their surroundings and “misplaces” them in desolate landscapes around the world. Concrete behemoths and steel-and-glass towers rise from sand dunes and rocky cliffs, inviting viewers to see them as if for the first time. Out of context, architectural forms become more pronounced and easily understood.
Stitching together thousands of images, photographer Levon Biss produces huge and detailed photographs of tiny insects; prints of 10 mm bugs are 3 meters across. An exhibition of Biss’ photos will be on display at the Oxford University Museum of Natural History. All three images above are of the orchid cuckoo bee at different levels of zoom. This video shows how the photos are made:
Alexey Zakharov gathered old photos of New York, Washington D.C. and other American cities from Shorpy and animated them into something wonderful. There’s a cheesy steampunk time machine at the beginning…push through that to the good stuff. (via @pshoplifter)
The San Francisco earthquake of 1906 and the resulting fires destroyed 500 blocks, 25,000 buildings, killed more than 3000 people, and left more than half the city homeless. Alan Taylor curated a selection of photos of the earthquake and aftermath. The most striking ones are those taken from an airship that show how complete and extensive the destruction was. I mean:
Camilo Jose Vergara’s Tracking Time project is a collection of photos of locations around the US (LA, Harlem, Detroit, South Bronx) photographed repeatedly over the years, from the 70s to the present day. For instance, here’s how 65 East 125th St in Harlem looked in 1978:
Nicholas Felton is out with a new book on information visualization and photography called Photoviz.
The stories told with graphics and infographics are now being visualized through photography. Fotoviz shows how these powerful images are depicting correlations, making the invisible visible, and revealing more detail than classic photojournalism.
Ahhhhh, this looks amazing. And is right up my alley as well…I quickly looked through some of the images featured in the book and I’ve posted many of them here before (see time merge media for instance). Can’t wait for this one to arrive.
This is an experiment about expectations. Six photographers are given an assignment to shoot photos of one man. Each photographer is told a different story about the man: he’s a millionaire, a lifesaver, an ex-con, a fisherman, a psychic, a recovering alcoholic. As you might expect, the photos taken by the different photographers of the same person are pretty different.
In 1982, photographer Barbara Davatz took photographs of 12 pairs of people. In 1988, she photographed them again. Same thing in 1997. And in 2014. A new book, As Time Goes By, collects all those photos in one place.
Their ranks have swelled over the years, with the addition of 14 children and even some grandchildren in the meantime, so the project now covers three generations. Other themes have long since been added to the original one of self-presentation. Without revealing any specific personal information, the series narrate a wide array of changes — physical, biographical and sartorial — over time. They tell of separations, of aging and loss, of the growth of families and the inheritance of family traits. But also of current urban society in each period.
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