Articles Tagged with: Film
Ed Colver | Bad Religion

I had the pleasure of hanging out with Ed Colver at a party in The Brewery in Los Angeles a few years ago. He is a cool old timer with tons of stories. At the time, he was driving a great hearse with a Dodge 400 in it and his business cards were blank bereavement cards for funeral homes.

I asked him about this iconic photo which has always been one of the great hardcore album covers and posters. He said he took this shot handheld at night outside of a show in LA, using only the light from a hot dog vendor cart. He never uses a light meter, has never used one and has such a refined eye that he can judge the light and get the exposure right every time. Even in the studio.

Check out his work and buy his book.

Bad_Religion_'80-'85 © Ed Colver

Bad_Religion_'80-'85 © Ed Colver


San Diego | Helene & Preston

Helene is one of my good friends in San Diego, a great dancer, an even greater photographer. Last June, she got hitched to Preston and their wedding was truly a spectacle.

A traditional Jewish ceremony and a warehouse party / reception the following night with circus performers, contortionists, a fire dancing team, Regaton beats by the groom, a Brazilian band, a ceremony with an African priestess, acrobats swinging from the ceiling and more and more and more.

If you think you’ve been to a cool wedding, trust me; you haven’t, unless  you were at Helene and Preston’s (or at Aaliyah and Patrick’s).

Good stuff.

Nikon F5, 28-70mm, Kodak Tri-X © Doug Kim

Nikon F5, 28-70mm, Kodak Tri-X © Doug Kim

Helene

Helene, Nikon F5, 85mm, Kodak Tri-X © Doug Kim

Helene & Preston at the Pearl, Nikon F5, 85mm, Kodak Tri-X © Doug Kim

Helene & Preston at the Pearl, Nikon F5, 85mm, Kodak Tri-X © Doug Kim

Ilya & Dave, Nikon D300, 28-70mm © Doug Kim

Ilya & Dave, Nikon D300, 28-70mm © Doug Kim

Nikon D300, 28-70mm © Doug Kim

Nikon D300, 28-70mm © Doug Kim

Everyone was worried about her hair...well except the guys; Nikon D300, 12-24mm © Doug Kim

Everyone was worried about her hair...well except the guys; Nikon D300, 12-24mm © Doug Kim

Nikon D300, 28-70mm © Doug Kim

Nikon D300, 28-70mm © Doug Kim

To view more images, click here.


Brides & Window Light

Give me a beautiful bride, some window light, and a pocket full of B&W film and I will go to town all day long.

Heather Wade-Benderly, Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

Heather Wade-Benderly, Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

Heather Wade-Benderly, Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

Heather Wade-Benderly, Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

And while I’m at it, give me a rabbi and a window and I’ll still go to town.

Hot rabbi by the window, Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

Nikon F5, 85mm f1.4, Kodak Tri-X, © Doug Kim

The hand of a hot rabbi, Nikon F5, 85mm f1.4, Kodak Tri-x,  Doug Kim

Nikon F5, 85mm f1.4, Kodak Tri-x, © Doug Kim


André Kertész | His Inspiring and Lasting Influence

André Kértész remains my largest influence when I am behind the camera. It may have been chance that a professor lent me one of his books when I was eighteen but that chance gift was my introduction into the world of photography. Kértész was the first master whose images I studied and I pored over that book for hours. I could have easily been handed a monograph by Arbus or Avedon or Adams. Perhaps my professor knew what she was doing.

I have been following that initial insight and inspiration ever since. Many times I find myself unintentionally copying Kértész on the street.

There is a gentle humanistic quietness, an easy poetry to his images and a seeming raw, amateurish quality that makes his images readily accessible. The incredible perfection of Cartier-Bresson or Salgado can sometimes create a personal distance between the image and the viewer because the flawless, stunning compositions and technique can render an image almost to the level of a graphic, it being so pure of form and idea. The converse is Kértész’s work with its easy homeyness that is flawed and familiar, inviting and intimate, and in the end, deeply personal. The series of images he made of the glass sculpture that reminded him of his departed wife is a subject of heartbreaking vulnerability, a view that few of the masters have ever let us see.

He is considered the grandfather of street photography. The Getty Museum’s Photography Curator, Weston Naef described Kértész as

a little like Christopher Columbus, who discovered a new world that, in the end, was named for someone else.

Cartier-Bresson also said once said of himself, Robert Capa, and Brassaï, that

Whatever we have done, Kertész did first.

He is also credited by Brassaï as being his mentor and the one who encouraged him to document the nights of Paris.

Except for his celebrated period in Paris in the 20’s and 30’s, he has always been tragically under appreciated and oddly looked over especially after his relocation to the United States. Because of this, he is something of a photographer’s photographer, cherished by those who shoot and those who study those who have shot.

I still find myself looking at a proof sheet, wondering about the familiarity of an image I’ve created until I realize that it is my version of a Kértész.

I am an amateur, and I intend to remain an amateur for the rest of my life. The photograph gets its beauty from the very truth with which it is stamped. This is why I guard myself against any kind of professional trickery or virtuosity.

I attribute to photography the task of recording the real nature of things, their interior life. The photographer’s art is a continuous discovery which requires patience and time. A photograph draws its beauty from the truth with which it is marked.

André Kértész, 1930.

We all owe him a great deal.

Henri Cartier-Bresson.

Chez Mondrian

André Kértész, Chez Mondrian, 1926

The Fork

André Kértész, The Fork, 1928

Rainy Day Tokyo

André Kértész, Rainy Day Tokyo, 1968

Café du Dome, 1928

André Kértész, Café du Dome, 1928

martinique

André Kértész, Martinique, 1972

Andre Kertesz Meudon, Paris 1928

André Kértész, Meudon, 1928

Ballet, 1938

André Kértész, Ballet, 1938


Mad Men | Penn Station

This past Sunday, “Mad Men” (Season 3 Episode 2) referenced the venerable architecture critic Ada Louise Huxtable when Paul Kinsey and Pete Campbell were meeting with the developers of Madison Square Garden, discussing plans to knock down Penn Station.

It quotes Ms. Huxtable’s article in the New York Times from 1963 about Penn Station, called “How to Kill a City”. The New York Times has offered the full article in PDF to download and read here.

A eulogy in October of ’63 ran in the editorial section:

Any city gets what it admires, will pay for, and, ultimately, deserves. Even when we had Penn Station, we couldn’t afford to keep it clean. We want and deserve tin-can architecture in a tinhorn culture. And we will probably be judged not by the monuments we build but by those we have destroyed.

– “Farewell to Penn Station,” New York Times, Oct 30, 1963

Comparing the old to the new, Vincent Scully of Yale University remarked,

One entered the city like a god. One scuttles in now like a rat.

The original Penn Station was a steel and glass shrine to transportation, an elegant Beaux-Arts temple with its 150 foot high ceilings and a waiting room modeled after the Roman Baths of Caracalla.

Now it is an underground Habitrail™, lit by yellowed fluorescents and flavored by the odors of Roy Rogers™ and Cinnabon™ stinking down the corridors. Excepting the mad scurry for Amtrak platforms after the track number has finally been revealed on the big board, it is an oppressive space completely without joy.

photographer unknown

photographer unknown

Couple in Penn Station Sharing Farewell Kiss Before He Ships Off to War During WWII by Alfred Eisenstaedt

Couple in Penn Station Sharing Farewell Kiss Before He Ships Off to War During WWII by Alfred Eisenstaedt

Life Magazine has posted an entire series by Eisenstaedt of WWII soldiers’ farewells at Penn Station here.

Penn Station, circa 1910, Detroit Publishing Company

Circa 1910, Detroit Publishing Company; click to view the full size image

photographer unknown

Berenice Abbott, printed ca. 1935

AP Photo/Matty Zimmerman

AP Photo/Matty Zimmerman

photograph by Peter Moore

Peter Moore; click to view full size

Peter Moore and his wife Barbara documented the death of Penn Station and published their work, The Destruction Of Penn Station.

photographer unknown

today

The only consolation is that Penn Station’s demolition was a large factor in the creation of the Landmarks Preservation Commission in 1965.