Ezra Stoller | General Motors Technical Center,1950

Posted: May 30th, 2013 | Author: | Filed under: Architecture, Film, Photography, Quotes

General Motors Technical Center,1950 ©  Ezra Stoller

General Motors Technical Center,1950 © Ezra Stoller

Photography is space, light, texture, of course, but the really important element is time—that nanosecond when the image organizes itself on the ground glass.

- Ezra Stoller


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Ray Eames | Graphic Designs & Letters

Posted: May 28th, 2013 | Author: | Filed under: Architecture, Quotes

Tic Tac Toe Fabric Design  circa 1947, ink on gold paper © Ray Eames

Tic Tac Toe Fabric Design
circa 1947, ink on gold paper © Ray Eames

 

Choose your corner, pick away at it carefully, intensely and to the best of your ability and that way you might change the world.

- Ray Eames

Letter to Sansi Girard. 1961, ink on paper from Ray Eames

Letter to Sansi Girard. 1961,
ink on paper from Ray Eames

 

Take your please seriously.

- Charles Eames

Drawing of Molded Plywood Chairs by Ray Eames

Drawing of Molded Plywood Chairs by Ray Eames

The problem of designing anything is in a sense the problem of designing a tool. And as in designing a tool it is usually wise to have a pretty clear idea of what you want the thing to do. The need is to fill it’s particular objective.

- Charles and Ray Eames

Dot Pattern fabric design circa 1947,  pencil on tracing paper © Ray Eames

Dot Pattern fabric design
circa 1947,
pencil on tracing paper © Ray Eames

 

Yes, Charles had always been terribly interested in photography. I think it’s been known that his father was a great amateur photographer and had left equipment. His father died when he was very young. He left his equipment and Charles started to read instructions and taught himself about photography. The great joke he always made was that he was making glass plate negatives before hearing that there was such a thing as film, because of having this old equipment. But he learned a great deal. Then he used it always as a tool, photographing architecture, photographing objects, studying it by photographing models. And I think he made some experiments in film when he was at Cranbook. Some film . . . I must check that, I think they might have it. We kept records of everything, but he never shot just a record, he always shot something and made a good-looking photograph.

- Ray Eames

Crosspatch Fabric Design, 1945 © Ray Eames

Crosspatch Fabric Design, 1945 © Ray Eames

 

So, filmmaking — he was always interested in documenting things, and using photographs rather than pages of explanations. He had a very strong belief of being able to see something rather than having to describe it, so we’ve always used photographs for that.

- Ray Eames

Christmas and New Year's Card, 1933-34, pencil on paper © Ray Eames

Christmas and New Year’s Card, 1933-34, pencil on paper © Ray Eames

 

I never thought of myself as an artist and couldn’t bear the word.

- Ray Eames

Christmas and New Year's Card, 1933-34 © Ray Eames

Christmas and New Year’s Card, 1933-34 © Ray Eames

 

It was natural for me not to separate them, you know—now you study history, now you study dance, now you study music, or now you study pottery or whatever it is—it all seemed to be one thing.

- Ray Eames

Dot Pattern, Fabric Design,  circa 1947 © Ray Eames

Dot Pattern, Fabric Design,
circa 1947 © Ray Eames

 

Ray comes to design through painting
and I through architecture -
that this should not be at all surprising
since I feel that most everything is a
form of architecture, certainly all of the
environment that man creates for himself -
and Ray feels that painting is related to
everything and of course I feel that painting
comes under the heading of architecture.

- Charles Eames

Illustrated Happy Birthday letter to Susan Girard © Ray Eames

Illustrated Happy Birthday letter to Susan Girard © Ray Eames

 

Never let the blood show

- Charles Eames

Letter to Sansi Girard from Ray Eames

Letter to Sansi Girard from Ray Eames

 

What works good is better than what looks good, because what works good lasts.

- Ray Eames

Letter to Charles Eames, 1955 from Ray Eames

Letter to Charles Eames, 1955 from Ray Eames


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Arnold Newman | Portraits

Posted: November 4th, 2012 | Author: | Filed under: Architecture, Cinema, Film, Los Angeles, New York City, Painting, Photography, Quotes

Roy Lichtenstein, 1976 © Arnold Newman

Roy Lichtenstein, 1976 © Arnold Newman

If it’s a good photograph and says something about the person, than I think it’s a good portrait.

- Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

I wasn’t mimicking it (Mondrian’s style), I was echoing it. I did it deliberately and when he saw the results, he loved it. He gave me the original drawings of Broadway Boogie-Woogie. It was the only thing he could give me. I was stunned at the time.

The thing is I was trying to say with my photographs what Mondrian meant to me. That I would copy his work or anybody else’s in order to do it to me would be horrifying because I would be copying and not creating. A lot of people do that. The man by the way is stiff, linear and very formal, just like his own work.

- Arnold Newman

Truman Capote, 1977 © Arnold Newman

Truman Capote, 1977 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Movie stars, actors…all they have is themselves. They have no other ability but to go on and portray somebody else. They don’t know how to be themselves. And it becomes a very difficult thing. Very rarely a great artist, not rarely, but only a few of them can say I don’t really care, I have warts, photograph me with the warts.

- Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

I was acquainted with Carl at that time. He was working on the west coast, working on the words of Jesus in the Greatest Story Ever Told. He said come on out, let’s start work. I stayed with a friend of mine, a producer on a film, Something’s Got To Give. And that was of course the film that Marilyn didn’t finish.

I never saw the glamorous creature. Oh, I saw flashes of her in public and all that. But in the privacy of the home and wherever we were at, and later at my home, I saw nothing but a sad, sick girl.

- Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

You wait for things to happen. Let’s say, I think I would like to photograph you over here, how about you standing behind the desk for a moment for me, and they’ll do that. Now, let’s face it, if you’ve got a very irritable subject or a man who is pretty rough and tough, President Johnson specifically, why don’t you just stand there for a few minutes, you just can’t do that. As a matter of fact, he gave me fifteen minutes, of course I took forty five. The idea was was that I was loosening him up, to get him used to the idea of photographing. I had to take a risk, my first risk shots, my insurance pictures at the beginning. They were not bad, but they were stiff and he was uptight, looking at his watch mentally.

Later, I got him to relax, we were kidding, he leaned sort of like this as he was waiting for me to get my camera ready again, which before he was very upset that I wasn’t ready. I was doing this on purpose. Finally, when he was like this, I said, don’t move.

- Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

The worst people in the world, the real villains of today very often as Hitchcock said, hide in broad daylight, you just don’t recognize them. That’s the way Krupp was. He looked like a nice distinguished gentlemanly human being and he looked at my pictures and said, “Mr. Newman, I love your photographs so I think maybe we should take photographs.”

I worked this out where I got the lights to come under him, the usual thing. The result was that when I got him there, it was working but not really working. I had built a little platform of about two meters high, long enough to accommodate the both of us, him straddling a chair. I didn’t want to over do it. The lights were working beautifully but it just didn’t give me what I wanted. I went to Herr Bolen, that was his family name, “would you lean forward” and he leaned this way and my hair stood on end. There was the devil.

And they declared me persona non grata in Germany.

- Arnold Newman

Arthur Miller, 1947 © Arnold Newman

Arthur Miller, 1947 © Arnold Newman

John F. Kennedy © Arnold Newman

John F. Kennedy © Arnold Newman

Portraiture is a term that has taken on all these barnacles, all these terrible things that have happened to portraiture, on canvas, on stone, on metal, and then in photography. It’s something that is done to please the subject. A photographer is nothing more than a whore who does nothing but sit there thinking, will it please the subject, will i be able to sell him this picture, or will I be able to please him so he will buy it.

And the result is that little by little, people have begun to look down at portraiture, forgetting that the greatest artists in the world from Rembrandt, to Holbein, on up to Stieglitz and Strand, what have you, have all done portraiture and loved it. I happen to particularly love photographing people.

- Arnold Newman

Bill Clinton © Arnold Newman

Bill Clinton © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Well, I didn’t mean to make a series of photographs on artists. My intent was explicitly to experiment with portraiture. And I hate the word portraiture. I prefer to call it photographs of people.

When I came to New York, you have to understand, in 1938, things were still bad from the depression and there wasn’t much money. I was unknown. I had this desire to make photographs of people but I didn’t know anyone. The ones that I wanted to meet, the ones that seemed to me, gave me the greatest opportunity…the artists were absolutely perfect.

- Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Cartier-Bresson is not a photojournalist. He takes individual images if you really look at them.

- Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Course Stieglitz was a man who I greatly admired and I had no idea that I was going to meet him. I do remember the fact that kept using words like inventive but the word that he kept using was honesty. He kept urging me then and later to be honest.

- Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Great photographs are not made with a camera. They are made by a human being with a mind. And he uses a tool. If that tool cannot make a great work of art, then he discards the tool. As long as the tools are available to us to make something that satisfies us, we’ll use it, no matter how imperfect it is.

- Arnold Newman

I.M. Pei, 1967 © Arnold Newman

I.M. Pei, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

It all came to head in just a moment. I had been going to concerts and looking at various instruments. I had already photographed musical instruments in part and in whole and that sort of thing. Suddenly I realized that I had been admiring the shape of the piano and suddenly it hit me The piano shape – strong, hard, sharp, linear, beautiful in this strong harsh way was really the echo of Stravinsky’s work, his own music. When I thought about that, reflected on that, I thought where can I get a piano?

We found an editor who had a piano with a very simple wall, very simple background. I was able to manipulate the light on the background by simply taking one 1,000 watt light and moving it around until I got the exact light I wanted.

- Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

[For the Picasso image] I used a small portion of a 4×5 negative which was part of a series that I did. I love the whole photograph, I still think that that is a successful photograph. What I realized in examining the photograph, the most exciting thing was face and his eyes so I decided to blow up that little section and make that the full image. And I blew it up and it was so successful, the old story, less is more. The impact of that closely cropped head with those fantastic eyes increased the value of the picture instead of decreasing it and it probably became one of my best known photographs.

- Arnold Newman

Louise Nevelson, 1972 © Arnold Newman

Louise Nevelson, 1972 © Arnold Newman


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Los Angeles | Walt Disney Concert Hall

Posted: September 7th, 2012 | Author: | Filed under: Architecture, dougKIM photography, Los Angeles, Nikon

Walt Disney Concert Hall, Los Angeles; Nikon D300, 35-70mm Nikkor © Doug Kim

Walt Disney Concert Hall, Los Angeles; Nikon D300, 35-70mm Nikkor © Doug Kim


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East Village | 2nd Ave Marble Cemetery

Posted: September 12th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Leica, New York City

The oldest public non-sectarian cemetery in New York City with 2,070 interments in 156 below-ground vaults made of solid white Tuckahoe marble. There are no gravestones and the names of the original owners are on plaques in the surrounding walls. Open only for a few days a year to the public.

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400

2nd Ave Marble Cemetery, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X 400


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National Arboretum | Capitol Columns

Posted: August 31st, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Leica, Washington DC

One of the best kept secrets of DC are the 446 acres that comprise The National Arboretum.

These National Capitol Columns were installed on the East Portico of the Capitol Building in 1828 and then replaced in 1958 as part of an addition to the Capitol Building before finally finding a home at the Arboretum in the 1980s.

Capitol Columns, The National Arboretum, Washington, DC; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400

Capitol Columns, The National Arboretum, Washington, DC; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400


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Washington, DC | The Smithsonian

Posted: March 14th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Leica, Washington DC

The Smithsonian, Arthur Sackler Gallery restroom, Washington DC; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400

The Smithsonian, Arthur Sackler Gallery restroom, Washington DC; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400


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Washington, DC | National Gallery of Art

Posted: March 12th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Nikon, Washington DC

National Gallery of Art, East Wing, Washington, DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400 © Doug Kim

National Gallery of Art, East Wing, Washington, DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400 © Doug Kim


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National Gallery of Art | Alexander Calder

Posted: March 8th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Nikon

National Gallery of Art, Calder, Washington DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400

National Gallery of Art, Calder, Washington DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400


Calder, National Gallery of Art; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim

Calder, National Gallery of Art; Leica M6 TTL 0.58, 35mm Summicron, Agfa APX 400 © Doug Kim


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Washington, DC | The Exorcist Steps

Posted: March 6th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Nikon

The Exorcist Steps, Washington, DC; Nikon F5, 29-70mm Nikkor, Agfa APX 400

The Exorcist Steps, Washington, DC; Nikon F5, 29-70mm Nikkor, Agfa APX 400


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