The Guggenheim | James Turrell

Posted: August 17th, 2014 | Author: | Filed under: dougKIM photography, Film, Leica, New York City

James Turrell, The Guggenheim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim

James Turrell, The Guggenheim; Leica MP 0.58, 35mm Summicron, Kodak Tri-X © Doug Kim


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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


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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 | National Gallery of Art

Posted: March 2nd, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Nikon

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

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


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The Phillips Collection

Posted: January 25th, 2011 | Author: | Filed under: Architecture, dougKIM photography, Film, Nikon

The Phillips Collection, Washington, DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400, Agfa 118 © Doug Kim

The Phillips Collection, Washington, DC; Nikon F5, 28-70mm Nikkor, Agfa APX 400, Agfa 118 © Doug Kim


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Denver Art Museum

Posted: February 16th, 2010 | Author: | Filed under: dougKIM photography, Film, Leica

Shot with a Leica M6 TTL, 35mm Summicron, Kodak Tri-X.

Denver Art Museum © Doug Kim

Denver Art Museum © Doug Kim

Denver Art Museum © Doug Kim

Denver Art Museum © Doug Kim


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Los Angeles | Museum of Contemporary Art

Posted: December 30th, 2009 | Author: | Filed under: dougKIM photography, Film, Leica, Los Angeles

At my best, when I am shooting B&W, my images are all about light and the way it interacts with the world. I will often shoot the source light itself, the sun or a bank of windows, all blown out and creating an area of dead space.

With film also, metering when shooting the source light is tricky because the range of exposure stops within the image is large. I tend to point the Lecia at the area that will have the proper exposure for the figure in the light, such as the floor, and then reframe. Another great metering tip with the Leica in tricky situations is to take a reading off of your hand when in the same light as the subject, the hand being the greatest gray card.

In this instance, shooting these two standing in front of an installation at MOCA, I metered the room and opened up three stops. I neither wanted the bodies completely silhouetted in black nor the light source completely blown out. I got exactly what I wanted which is a half and half mixture of luck and experience.

Shot with a Leica M6 TTL, 35mm summicron, and Kodak Tri-X 400.

Museum of Contemporary Art, Los Angeles © Doug Kim

Museum of Contemporary Art, Los Angeles © Doug Kim


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Looking In: Robert Frank’s “The Americans”

Posted: September 5th, 2009 | Author: | Filed under: Books, Film, Photography, Quotes

September 22, 2009 through January 3, 2010, The Metropolitan Museum of Art will be hosting the exhibit, Looking In: Robert Frank’s The Americans. Organized by the National Gallery of Art, the exhibit has traveled from DC to San Francisco, ending in New York. The new exhibit and book are a celebration of the 50th anniversary of The Americans, one of the most influential single series of photographs ever published. The exhibit will feature all 83 photos from the book that were made on his cross-country road trip from 1955-56.

On Friday, October 9th, Robert Frank will be appearing in conversation with the curators and organizers of this presentation at the Met. Do not miss this, as Frank does not make many public appearances these days. Purchase tickets here. I already have mine and am sure it will sell out soon.

Whether you attend or not, purchase the book right now. The expanded hardcover features 83 pages of contact sheets which are a treasure unto themselves (the softcover is an abridged version and does not offer all of the contact sheets.) I have had the book for two weeks and have barely made a dent in it because of the richness offered and the lessons to be learned. The Americans and Robert Frank’s body of work were already inestimable contributions and as familiar as I am with those 83 images, I am stunned by how little I understood the skill and remarkable taste Frank had in his choices, the sequencing of the images, cropping and yes, even grant writing (the original letters are included.)

It is truly an eye-opening experience into how complete his talents are and how the mix of of them achieved a perfect balance with The Americans.

The one thing I will share is the tiniest snippet of a lesson I am absorbing. The shot of the elevator girl in Miami Beach has always been a favorite of mine. Below is an excerpt from the contact sheet with that image on it. You can see Frank working the situation and the idea over 14 frames.

Cartier-Bresson once said of contact sheets:

My contact sheets may be compared to the way you drive a nail in a plank. First you give several light taps to build up a rhythm and align the nail with the wood. Then, much more quickly, and with as few strokes as possible, you hit the nail forcefully on the head and drive it in.

Robert_Frank_Elevator-Miami-Beach_1955sm

Elevator, Miami Beach, 1955, Robert Frank

robertfrank

Excerpt from contact sheet from the book: Looking In: Robert Frank’s “The Americans”


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