The Paradox of Photos

The Story Behind the Black Lives Matter Photo Seen Around the World:

Jonathan Bachman’s recent photo of a Black Lives Matter protester in Baton Rouge being arrested, which he took for Reuters, is one of those wire photos destined to become an iconic image. The woman, Ieshia Evans, seems to have a serene power over the police officers taking her into custody, and the lack of any other protesters in the frame give the photo a surreal tinge, as if it’s taken the combined might of the Baton Rouge Police Department to arrest a single black woman.

It’s an incredible photo to be sure, but what can make photos seem surreal is because of all the information not included in the frame: The sounds, smells, tension in the air, the weather. We aren’t seeing what happened leading up to and after the shot.

Photos are a paradox: their power resides in both what they show and what they leave out.

‘We all get dressed for Bill.’

Over the weekend New York Times photographer Bill Cunningham died. As someone whose father bought the Sunday New York Times every weekend, Cunningham was a part of my life before I knew who he was.

When I moved to the East Village in 2000 I continued my father’s habit of buying the Times every Sunday. My girlfriend (now wife) loved fashion, so I’d always hand over the Fashion section to her which always had a grid of Cunningham’s fashion shots above the fold.

Jacob Bernstein did a great write-up on Cunningham:

Mr. Cunningham was such a singular presence in the city that, in 2009, he was designated a living landmark. And he was an easy one to spot, riding his bicycle through Midtown, where he did most of his field work: his bony-thin frame draped in his utilitarian blue French worker’s jacket, khaki pants and black sneakers (he himself was no one’s idea of a fashion plate), with his 35-millimeter camera slung around his neck, ever at the ready for the next fashion statement to come around the corner.

Nothing escaped his notice: not the fanny packs, not the Birkin bags, not the gingham shirts, not the fluorescent biker shorts.

In his nearly 40 years working for The Times, Mr. Cunningham snapped away at changing dress habits to chart the broader shift away from formality and toward something more diffuse and individualistic.

He was a unique man:

He didn’t go to the movies. He didn’t own a television. He ate breakfast nearly every day at the Stage Star Deli on West 55th Street, where a cup of coffee and a sausage, egg and cheese could be had, until very recently, for under $3. He lived until 2010 in a studio above Carnegie Hall amid rows and rows of file cabinets, where he kept all of his negatives. He slept on a single-size cot, showered in a shared bathroom and, when he was asked why he spent years ripping up checks from magazines like Details (which he helped Annie Flanders launch in 1982), he said: “Money’s the cheapest thing. Liberty and freedom is the most expensive.”

If you haven’t seen it yet, I recommend the the documentary, Bill Cunningham New York. I watched it a few years ago and loved it.

If you have Amazon Prime, it’s included in your subscription (hat tip, Jason Kottke).

Rick & Co.

If you can’t tell that’s Adam Horovitz AKA Ad-Rock (Beastie Boys) front-and-center with the smirk on his face. Behind him, Mike Diamond AKA Mike D (Beastie Boys) and behind him, Adam Yauch AKA MCA (Beastie Boys). To the right of Mike D is Def Jam Recordings founder, Rick Rubin.

The dude in the front with the white Kangol hat is Joseph Simmons, AKA DJ Run (Run-D.M.C.). To the right of him is Darryl McDaniels AKA D.M.C. (Run-D.M.C.). I’m not seeing Jam Master Jay and I don’t know who the other dudes are.

via YIMMY YAYO

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Photography

Laurel Canyon

When I first came out to L.A. [in 1968], my friend Joel Bernstein found an old book in a flea market that said, ‘Ask anyone in America where the craziest people live and they’ll tell you California. Ask anyone in California where the craziest people live and they’ll say Los Angeles. Ask anyone in Los Angeles where the craziest people live and they’ll tell you Hollywood. Ask anyone in Hollywood where the craziest people live and they’ll say Laurel Canyon. And ask anyone in Laurel Canyon where the craziest people live and they’ll say Lookout Mountain.’ So I bought a house on Lookout Mountain.

—Joni Mitchell

via The Selvedge Yard

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Photography

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The Brown Sisters

The NYTimes has a great article on the 40 years of portraits Nicholas Nixon took of his wife and her 3 sisters:

Throughout this series, we watch these women age, undergoing life’s most humbling experience. While many of us can, when pressed, name things we are grateful to Time for bestowing upon us, the lines bracketing our mouths and the loosening of our skin are not among them. So while a part of the spirit sinks at the slow appearance of these women’s jowls, another part is lifted: They are not undone by it. We detect more sorrow, perhaps, in the eyes, more weight in the once-fresh brows. But the more we study the images, the more we see that aging does not define these women. Even as the images tell us, in no uncertain terms, that this is what it looks like to grow old, this is the irrefutable truth, we also learn: This is what endurance looks like.

From 1996-1998 I worked at the Zabriskie Gallery on 57th Street & Madison Avenue in Manhattan. Nicholas Nixon was one of the photographers Virginia Zabriskie represented. I was lucky enough to put on white gloves and thumb through many of the photos mentioned in this article.

Nixon used 8×10-inch film to make 8×10-inch prints, so the details in them were hyper-real. When your film is that big, it doesn’t come in a roll and you can’t fire off a lot of shots (easily). You have to know your shot and have the confidence to shoot it. Nixon is one of those old school photographers who can do it.

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Photography

No Screen

Sam Byford at the Verge on the Leica M Edition 60:

The M Edition 60 is a special version of the M-P Type 240 digital rangefinder, but there’s a twist — the new model features no screen at all, forcing you to use it as if it were a film camera. “Working with the Leica M Edition 60 intentionally demands the same care and attention as working with an analogue model,” says the company in a statement. “Only the sensor and the entire electronics reflect the state of the art of contemporary camera technology.” The screen has been replaced with an ISO selector dial, which at least means you’ll be able to alter the sensitivity of your photos more often than you could with a 36-shot roll of film.
Over at Co.Design, Adrian Covert and Mark Wilson debate whether this no-screen thing is a good idea:
Adrian: On paper this sounds great. It forces photographers to really think about what they’re shooting and how they’re shooting it. And while I’m all for designs that address issues with faulty user behavior, this is coming at the expense of another feature which has unquestionably helped improve the photographic process: the LCD. That’s a problem.
As with many debates in life, I see both sides.
For me, though, the screen has to stay.


[images taken from The Verge]

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Photography

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