Prospect Heights | Ela, Asli & Kutan

Posted: December 4th, 2011 | Author: | Filed under: dougKIM photography, Film, Leica, New York City

Asli & Ela, Prospect Heights © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Asli & Ela, Prospect Heights © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Asli & Kutan, Prospect Heights © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Asli & Kutan, Prospect Heights © Doug Kim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Ela, Prospect Heights © Doug Kim; Nikon F5, Nikkor 35-70mm, Kodak Tri-X

Ela, Prospect Heights © Doug Kim; Nikon F5, Nikkor 35-70mm, Kodak Tri-X


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Stanley Kubrick | Barry Lyndon

Posted: December 3rd, 2011 | Author: | Filed under: Cinema, Film, Quotes, Zeiss

Barry Lyndon, 1975

Barry Lyndon, 1975

He was obviously always a step ahead of me. He called me one, I remember I was at Warner’s, I think it was around the time he was getting ready to do Lyndon, and he said, ‘Do you have any of those special BNC cameras that we used for rear process?’ I said, ‘Why?’ He said, ‘For sentimental reasons. I started out on them. I’d love to buy one from you if I could get one.’ So I called the camera department and I said, ‘Do you have any of those?’ And they said, ‘We’ve got a couple of those.’ I called Stanley back….He said, ‘I’d love to get those cameras. I admire the workmanship.’ I said, ‘Great,’ and sent him one of those, or maybe two of them, I can’t remember.

About six months later, Gottschalk, who ran Panavision for us, and who was a certified camera and optical genius, called and said: ‘Why are you sending those rear-projection cameras to Stanley Kubrick?’ I said, ‘Because he asked for them. I mean, they sit down there, we don’t use rear-projection anymore. We’re doing front-projection.’ He said, ‘They’re priceless, they are the most fantastic works ever put into a camera. They are brilliantly conceived and brilliantly executed camera works. You could never build a camera like it if your life depended on it. I want to get everyone I can, because I can’t duplicate the work that went into them.’

Stanley had anticipated it and acquired them and built his own cameras!

- John Calley, Former President of Warner Bros., CEO of Sony Pictures

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

He looked for the old-fashioned Mitchell BNC cameras for a very specific reason. These were the only cameras, to his knowledge, where he had a chance of fitting these big Zeiss lenses.

- Jan Harlan, Executive Producer

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

And Stanley sent me this lens and said, could I mount it on his BNC camera? I said it’s absolutely impossible because the BNC has two shutters, a thick aperture plate, and all that between the film plane and the rear element of the lens. And so I explained that to Stanley and said we’d have to damn near wreck your camera and make it purely dedicated to do this. And he said, ‘Fine, go ahead and do it.’

It was originally a lens designed, developed, and manufactured by Zeiss for NASA. NASA was planning to use it in satellite photography. For that reason, it’s an extremely fast lens. It’s an f0.7 which is two stops faster than lenses that are even available today. Of course Stanely’s intention for these lenses was to shoot the famous candlelit scenes in Barry Lyndon. That being the case, he shot with the lenses wide open, f0.7. The consequence of that, he had practically no depth of field at all. It was quite a chore to do it, but of course the images were absolutely gorgeous.

- Ed Di Giulio, Cinematographer

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975

Barry Lyndon, 1975


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Cafe Doma | Ploy

Posted: December 2nd, 2011 | Author: | Filed under: dougKIM photography, Film, New York City, Nikon

Ploy, Cafe Doma © Doug Kim, Nikon F5, Zeiss 85mm f1.4, Kodak Tri-X

Ploy, Cafe Doma © Doug Kim, Nikon F5, Zeiss 85mm f1.4, Kodak Tri-X

Ploy, Cafe Doma © Doug Kim, Nikon F5, Zeiss 85mm f1.4, Kodak Tri-X

Ploy, Cafe Doma © Doug Kim, Nikon F5, Zeiss 85mm f1.4, Kodak Tri-X


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Mario Testino | Kate Moss by Mario Testino

Posted: December 1st, 2011 | Author: | Filed under: Books, Photography, Quotes

Mario Testino’s monograph / testimonial to Kate Moss was released in September 2010 in a limited run of 1,500 signed copies, each going for $2,000.

 

I met Kate very early on. Shortly after her first Galliano show I went backstage to congratulate her, only to find her crying: she was disappointed that she had only been given one outfit to model in the show. My answer to her was this: ‘In life there are perfumes and colognes. You need to use lots of cologne as the scent fades away; with a perfume you just use a drop and it lasts all night. You are a perfume, you will go on and on.’ Little did I know just how true that would become! And that I had made a friend for life.

- Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I thought it was on a shoot for French Glamour [that Mario and I first met], but he always says it was when I did a John Galliano show and I was crying on the steps or something.

- Kate Moss

 

Kate Moss by Mario Testino for Vogue Brazil May 2011

Kate Moss by Mario Testino for Vogue Brazil May 2011

Mario took me to a new level of glamour. I don’t think anybody had seen me as any kind of sexy model before he did. He was the one that transformed me. Before him I was just a grungy girl, but he saw me differently. He was the first to say ‘Oh, she’s quite sexy. I’ve seen her out! I know she’s not just that grungy girl.’ He’d seen me in a pair of heels, getting glamorous – and he was the first to start taking pictures of me in that way. He changed the way people thought about me as a model, for sure. Later other people started working with me in that way, but he was the first.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

She lives more fully than anyone else I know.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This is just a couple of months ago. We were doing photos and we were hungry, so she made an omelette. She’s quick at making an omelette! It was a moment. Kate’s very loose with her body – not in a negative way, but in a comfortable way. I come from Peru and had a Catholic upbringing. I wasn’t raised to be comfortable with nudity. British people are a funny mix. They pretend to be prudish but they can be pretty decadent – as long as you close enough doors. I guess Kate doesn’t need the closed doors. She’s just free. It’s her nature.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This is not the picture I was meant to do, it’s an in-between picture. We were doing shoot and I said: ‘All right I’ve got it’, and shy threw herself back on the bed, my paparazzi side came out – and this is the picture. It’s a relaxing shot between striking the pose. It’s where you get to see our relationship, where it’s not the magazine, or the editorial. It’s about us. Kate’s confidence is magical because it’s full of insecurities – she’s very frail. Even when she’s trying to be most sexy grown –up, the childishness in her always come out. I feel very protective towards her.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I have never laughed so much in my whole life as with Mario on shoots. Sometimes we know we have to stop but we just can’t, we can’t even look at each other.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I guess back when we met I did not realize she would become an icon of the ‘now’ for so many people. All I could see or feel was an attraction to someone a lot younger than me.

- Mario Testino

 

Lila Grace and Kate Moss by Mario Testino © Mario Testino

Lila Grace and Kate Moss by Mario Testino © Mario Testino

… and I like the pictures [in this book] of me and Lila too. At the time they were taken, she was really young, and I didn’t want the press intruding on her, they were too private… but now the pictures are nostalgic for me.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

We have been trying to work out exactly where this party is [the image below]. I think it is in New York, but it could be London or Cannes. It’s a long time ago, but I know this face so well – you know, with the mouth wide open when you scream hello. I’ve know Kate for over 20 years (our first job was for France Glamour when she was only 15) and the friendship I share with her is very intense. It’s different sort of friendship. It’s not like I see her every weekend, or we go out every night, but when we see each other. It’s always the same. This image encapsulates how I see Kate. It’s totally her. She’s so at ease. That’s the side I like. I like her sexy, and I her different, but many of those sides are a front. This is the reality.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

In the press people say “oh, there she is… she’s out again”, and they don’t see me getting up and going to work every day. They just print pictures of me coming out of a party or whatever… I’ve worked hard for 20 years and I’m still working now! The book has a really good balance of work and play and shows that the fashion industry is not the completely vicious place it is so often made out to be. I don’t think it is at all.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This was taken in my office while doing a story for Italian vogue. I wanted to bring Kate into my world and photograph her in a way that redressed her, so we decided to do the shoot using the portrait on my book. I carried on taking pictures after we had finished and this is one of those. The picture she is holding was the poster for my exhibition at the National Portrait Gallery. It’s become quite an iconic picture for us, because the exhibition has travelled all over the word and she has always been the face of the show. I thought it was cute to do her quite real, in this way, but with this face.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This was shot at the Royal Opera House for American vogue. It didn’t appear in the magazine, we just did it for a laugh. Kate was asking: ‘How would I have been if I was a dancer? With the tutu and a crown on? She’s so sweet like that ,no? She is you all- time English girl, I love her because she doesn’t come from money. She comes from a very normal background. I’ve always found that’s made her quite balanced. And as much as I can appreciate her style and her beauty, the thing that has made our relationship is her sense of humor. We laugh a lot. All the time. That is our relationship, I guess.

- Mario Testino


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Bridgehampton | The Goldbergs

Posted: November 30th, 2011 | Author: | Filed under: dougKIM photography, New York City, Nikon

The Goldbergs, Bridgehampton, Long Island © Doug Kim; Nikon D700, Nikkor 35-70mm

The Goldbergs, Bridgehampton, Long Island © Doug Kim; Nikon D700, Nikkor 35-70mm


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Gilles Caron | Northern Ireland, August 1969

Posted: November 29th, 2011 | Author: | Filed under: Film, Photography

Giles Caron burst onto the scene in the sixties in an explosion of productivity. During his brief five year career, he produced over 570 stories before disappearing in Cambodia at the age of thirty. He had planned on quitting because his career arc, covering several back-to-back vicious wars, had already taken it’s toll on him. He never had the chance and on April 5, 1970, Caron went missing on Route 1 between Vietnam and Cambodia.

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron

Northern Ireland, August 1969 © Gilles Caron


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Central Park | Early November

Posted: November 28th, 2011 | Author: | Filed under: dougKIM photography, Film, Leica, New York City

It’s been warm this month, dragging out that perfect Autumn moment into an entire month of brilliant trees and life outdoors before it’s time to hunker down.

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Central Park, November 2011 © Doug KIm, Leica MP 0.58, 35mm Summicron, Kodak Tri-X


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Paul Jasmin | California Dreaming

Posted: November 27th, 2011 | Author: | Filed under: Books, Los Angeles, Photography, Quotes

Paul Jasmin, a Los Angeles based photographer and instructor at Pasadena’s Art Center, has a new book out, California Dreaming.

Jason Wilder, California Dreaming © Paul Jasmin 2007

Jason Wilder, California Dreaming © Paul Jasmin 2007

Many of the photographs have been shot in and around my apartment on Wilshire Blvd. A lot of them where done just a bit more than one year ago, especially for the book. So most of the images are from the last two years.

- Paul Jasmin

Haddawy Home, California Dreaming © Paul Jasmin 2006

Haddawy Home, California Dreaming © Paul Jasmin 2006

The older I get, the more I realize that it´s all about dreams. That´s why I like California – it´s all about dreaming. Especially when your young, it´s the dream that keeps you going. That´s what I enjoy taking pictures of, these young people, dreamers, striving to become an actor, a model or an artist. Many of the images in the book are of kids of friends.

- Paul Jasmin

Laura, California Dreaming © Paul Jasmin 2009

Laura, California Dreaming © Paul Jasmin 2009

All my images are from a movie in one way or another. It´s a sort of romanticism. They reflects alot of me in that age – I was born in Montana but I wanted to go to Hollywod and become an actor.

- Paul Jasmin

Paul Jasmin’s Home, California Dreaming © Paul Jasmin 2009

Paul Jasmin’s Home, California Dreaming © Paul Jasmin 2009

Stas, California Dreaming © Paul Jasmin 2006

Stas, California Dreaming © Paul Jasmin 2006

Chateau Marmont, California Dreaming © Paul Jasmin 2008

Chateau Marmont, California Dreaming © Paul Jasmin 2008

Jonelle, California Dreaming © Paul Jasmin 2009

Jonelle, California Dreaming © Paul Jasmin 2009

Valeria, Lancaster, California Dreaming © Paul Jasmin 2008

Valeria, Lancaster, California Dreaming © Paul Jasmin 2008

Teresa, California Dreaming © Paul Jasmin 2007

Teresa, California Dreaming © Paul Jasmin 2007

Jerreth, California Dreaming © Paul Jasmin, 2009

Jerreth, California Dreaming © Paul Jasmin, 2009


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Leica SF 20 Flash | East Village, B Bar

Posted: November 26th, 2011 | Author: | Filed under: dougKIM photography, Film, New York City

I am a Leica snob, a natural light shooter, a street shooter, a gear fetishist, and a die hard film shooter.

I had helped a friend get his Leica gear CLA’d so that he could sell the gear last year. He ended up changing his mind so I shipped his gear back to him. A few days ago, I discovered that I still had his SF20 Leica flash unit. I had never shot with a flash unit hot shoed onto my Leica before (sacrilege!) but that night I was heading to drinks for a co-worker off the Bowery.

So yeah, what the hell. Why not try it out? Especially as daylight savings time had just kicked in and all available light started to disappear each day around 4PM.

I must say it was fun to shoot without having to listen to my Nikon auto-focus engine complain as it tries to find an area of suitable contrast to lock in on. Focusing in low-light with the rangefinder was a dream. Setting it 1/50 sec at f8.0, I was able to freely shoot fast and unobtrusively, no pre-flash red light warning subjects of an incoming shot.

The bar was very dark and the SF20 is strong and bright. People were blinded for several seconds afterwards.

Here are the results. I must say it feels a bit silly to shoot happy snaps at a bar with a hot shoe flash unit on my Leica MP, but I also have to say that there is something really crisp and nice about these images. Granted, there is nothing outstnding about them but seeing that Leica quality on these snapshots is kind of cool.

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X

B Bar, East Village © Doug Kim; Leica MP 0.58, 35mm Summicron, Leica SF20 Flash, Kodak Tri-X


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André Kertész | Ballet, New York City, 1938

Posted: November 25th, 2011 | Author: | Filed under: Books, Film, New York City, Photography, Quotes

Ballet, New York City, 1938 © André Kertész

Ballet, New York City, 1938 © André Kertész

Once I worked with the American Ballet. I started arranging my primitive lights when a voice shouted, “Stop, you have no right to put any lights here. You are not in the union.” “What do you mean?” “I said, “these are my lights; I am doing my work.” “You have no right.” I lost my patience and shouted back, “This is my daily work, my daily bread. You eat, I want to east, too.” He won the battle, and I was not happy.

Much later on I wanted to do something my way—with my conception—without complications. I took the dancers along and photographed them on a children’s playground dancing. Some children were playing hide-and-seek and the dancers started to mix with the children. Look at the adoration of the children in the picture. This was a fantastic moment captured in a photo. The dancer, which is the glamour, and the children. the publicity manager sent the photos over to Life magazine. They came back to one and a half years later: “We do not find a place for using them.”

- André Kertész, Kertész on Kertész


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