I always say that I see in black & white. Then non-photographers think that I mean that I am color blind. Or other photographers think that I am being a pretentious, arty B&W snob. I should instead say that I see in Black & White film.
It doesn’t always happen or the results are not always an exact match for what I thought I saw in the moment, but there are many moments where I can see exactly how the darkroom print will look.
This shot is a great example. I had been shooting this series of Clubracers in California and I entered the Pirelli truck and saw this moment. I metered quickly off the floor at the feet of this man to get the proper exposure of the floor, which I knew would make him a silhouette and would blow out the background. One frame.
When I got the proof sheet back, this tiny image popped. It was exactly as I envisioned it.
Doesn’t always happen, but it is a nice moment when it does.
In 2005, me and a friend started checking out general casting calls. She was a freelance programmer and, as a photographer, we were both a little slow at the time. I am not an actor and never wanted to be one, but if you live in Los Angeles, these opportunities are always out there and my friend, who is Japanese, thought it would be fun.
We attended an open call for Memoirs of a Geisha and were both immediately cast as background actors. We were both in different eras and scenes of the movie, she as a Fifties modern dressed prostitute and myself as a 1930’s Japanese general. Which was too bad because our intention had been to do this together but it meant that we would have different shooting days.
The life of an extra is bizarre and worthy of the articles and TV shows that have been created about it. I won’t go too long here but suffice to say that we were treated as just above set decorations yet occasionally were called upon to act. A lot of aspiring actors were in the mix, many having done numerous shows and films. There were hundreds of extras in my scenes of the army invading a village and sumo wrestling scene.
These were long eighteen hour days, getting paid very little, sitting around in costume and make up for hours, the boredom broken up only with the meal calls and the herding of us to set. The costuming was incredible for this film and I must say it was cool to sit around with a bunch of attractive geishas all day. And for the smokers in the crowd, some of the period set props were Camel unfiltered cigarettes. I smoked way too much over those days.
Since I was a shooter, I carried my Leica with me everywhere, including that set. I was, however, extremely conscious of the sensitivity of shooting unapproved on set since I had done production work before. But one day, I broke it out to shoot this girl because the light in the soundstage was just perfect. Soon, we all broke out our cameras and were taking group shots.
The next day, they issued a memo, instructing us to not take photos.
And yes, my shots were cut and my friend’s elbow was the only thing that made it into a scene.
But I did get the chance to be near Gong Li and that alone was worth the price of admission.
I don’t think either of them like these two shots. Let’s see if they read my blog.
- Kraków | Sculptor
- Kraków | Nowa Huta
- Kraków | Anita
- Kraków | Kazimierz, Part III
- Kraków | Kazimierz, Part II
- Kraków | Kazimierz, Part I
- Kraków | Flamenco Class
- Kraków | Filipina, Part VI
- Kraków | Bar Mleczny, Nowa Huta
- Kraków | Bar Mleczny, Podgórze
- Kraków | Stradom
- Kraków | Filipina, Part V
- Kraków | Stare Miasto
- Kraków | Podgórze
- Kraków | Filipina, Part IV
- Born Yogis
- dougKIM photography
- Los Angeles
- New York City
- San Francisco
- São Paulo
- Washington DC