MoMA | Carlito Carvalhosa: Sum of Days

Posted: December 8th, 2011 | Author: | Filed under: dougKIM photography, Film, Leica, New York City

http://www.moma.org/interactives/exhibitions/2011/carvalhosa/

Carlito Carvalhosa: Sum of Days, MoMA © Doug Kim, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Carlito Carvalhosa: Sum of Days, MoMA © Doug Kim, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Carlito Carvalhosa: Sum of Days, MoMA © Doug Kim, Leica MP 0.58, 35mm Summicron, Kodak Tri-X

Carlito Carvalhosa: Sum of Days, MoMA © Doug Kim, Leica MP 0.58, 35mm Summicron, Kodak Tri-X


Tags: , , , , , , , , | No Comments »





Henri Cartier-Bresson | America, Part Two

Posted: December 7th, 2011 | Author: | Filed under: Film, Leica, Photography, Quotes

NEW YORK CITY—West Point cadets and their admiring young ladies attend the Army vs. Notre-Dame football game, 1947. © Henri Cartier-Bresson / Magnum Photos

NEW YORK CITY—West Point cadets and their admiring young ladies attend the Army vs. Notre-Dame football game, 1947. © Henri Cartier-Bresson / Magnum Photos

Actually, I’m not all that interested in the subject of photography. Once the picture is in the box, I’m not all that interested in what happens next. Hunters, after all, aren’t cooks.

-Henri Cartier-Bresson

ANN ARBOR, Mich.—A football game between Michigan and Northwestern, 1960.  © Henri Cartier-Bresson / Magnum Photos

ANN ARBOR, Mich.—A football game between Michigan and Northwestern, 1960. © Henri Cartier-Bresson / Magnum Photos

RENO, Nev.—1947. © Henri Cartier-Bresson / Magnum Photos

RENO, Nev.—1947. © Henri Cartier-Bresson / Magnum Photos

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box.

-Henri Cartier-Bresson

NEW JERSEY—Solitary confinement in the model prison of Leesburg, 1975. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Solitary confinement in the model prison of Leesburg, 1975. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Manhattan and the Hudson River, seen from Hoboken, 1947. © Henri Cartier-Bresson / Magnum Photos

NEW JERSEY—Manhattan and the Hudson River, seen from Hoboken, 1947. © Henri Cartier-Bresson / Magnum Photos

LAGRANGE, Ga.—1961. © Henri Cartier-Bresson / Magnum Photos

LAGRANGE, Ga.—1961. © Henri Cartier-Bresson / Magnum Photos

TEXAS—1957. © Henri Cartier-Bresson / Magnum Photos

TEXAS—1957. © Henri Cartier-Bresson / Magnum Photos

Think about the photo before and after, never during. The secret is to take your time. You mustn’t go too fast. The subject must forget about you. Then, however, you must be very quick.

-Henri Cartier-Bresson

NEW YORK CITY—Manhattan Bankers Trust, 1960.  © Henri Cartier-Bresson / Magnum Photos

NEW YORK CITY—Manhattan Bankers Trust, 1960. © Henri Cartier-Bresson / Magnum Photos

NEW YORK—1959. © Henri Cartier-Bresson / Magnum Photos

NEW YORK—1959. © Henri Cartier-Bresson / Magnum Photos


Tags: , , , | No Comments »





SoHo | Lovely Day

Posted: December 6th, 2011 | Author: | Filed under: dougKIM photography, Film, Leica, New York City

Lovely Day, Elizabeth St, SoHo © Doug Kim, Leica MP .58, 35mm Summicron, Koda Tri-X

Ingird & Anika, Lovely Day, Elizabeth St, SoHo © Doug Kim, Leica MP .58, 35mm Summicron, Koda Tri-X


Tags: , , , , , , , , , , | No Comments »





Cecil Beaton | Andy Warhol, Members of the Factory

Posted: December 5th, 2011 | Author: | Filed under: Film, New York City

Andy Warhol and members of the Factory, New York City, 1969 © Cecil Beaton

Andy Warhol and members of the Factory, New York City, 1969 © Cecil Beaton


Tags: , , , , , | No Comments »





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


Tags: , , , , , , , , | No Comments »





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


Tags: , , , , , , , , , , , | 1 Comment »





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


Tags: , , , , , , , , | No Comments »





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


Tags: , , , , , | 2 Comments »





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


Tags: , , , , | No Comments »





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


Tags: , , , , , | 2 Comments »