the appeal of Street Photography still alludes me, and while I truly admire some of the work/ideas from Henri Cartier-Bresson and Brassaï, I do not find much that captures my appreciation**, never mind the “I wish I could do that”. then there are two books from Alex Webb that hold my attention, and appreciate that Decisive Moment and/or the use of shadows. one such example is shown below, and example of the use of geometry and shadow at the link below, where everything is right… and what finally makes me connect with me is the hand in on the tree. the sails and other hands pointing seem to play on the tree, as other forms of limbs/leaves, and while there are other people in the frame, it is the hand that offers the biggest clue of a human essence. I think that moment, and all else about the photo, which makes it quite brilliant. it was hard to choose one photo, as with his book on Mexico called « La Calle ».
** yes, Saul Leiter is definitely street photography, and my favorite photographer, yet with him, the street is a canvas, not so much within what Street Photography usually conveys with the luminaries in the field.
link: Alex Webb at Magnum Photo, with 120 sample images from The Suffering of Light.
like many industries, it is difficult to accept changes n fashion photography. yes, fashion is about quarterly/yearly changes to the clothes, though we can see that fashion photography was pretty stale for many years— and that stale view can still be found today. it seems that that Deborah Turbeville was not a fan of the fashion world, still, it may have been this disdain that propelled her to be subversive, in a way, with her photographic work within that industry. « It is the psychological tone and mood that I work for… », she said, and thus it is not only a “lo-fi” approach to otherwise saturated/sharp (and stale) fashion work that was subversive, but also what the fashion photograph should convey: as if she wanted to integrate the scene, and not just differentiate the clothes. in my view, an integrative view of composition and presentation can produce a stronger work, rather than concentrating on equipment and photographic rules/clichés (such as “rules of thirds”, sharpness, small or large DoF gimmickry, and the fads in post-processing). Deborah Turbeville took an assault on fashion photography norms from many different angles which reverberate through today.
info: her fashion photography has been compiled onto the book The Fashion Photographs. for a look at integration versus elimination (differentiation), the article from Malcom Gladwell, for The New Yorker, on the advertising targeting via psychological integration vs differentiation classification can be found at [ summary ]
there seems to be a flood of Polaroid books in recent years, and I personally, have been lowering my threshold of what is a good book to buy. it is not a “pass”, rather, it has to do with an attempt to understand a distortion/transformation (or two). that is, there is the transformation that Polaroids shifts in color relative to the real world, and there is the transformation on the photographer/subject by using the Polaroid equipment. among the early books, themed on Polaroids, that I obtained was from Sibylle Bergemann. I watched the video-review (by Jörg Coldberg), and was hooked— and no, it didn’t require for me to lower my threshold on photo books that I would own. I am glad to see that more of her work is being given a book release, as her talent, demonstrated in The Polaroids, gets an immediate spark of interest on how she saw the world. further to this interest, and despite the fact that I have not taken that many Polaroid photos because I completely avoided it when the company was viable— heck, I even worked a summer at Polaroid near Boston and was not interested in the camera— then, it is strange how much it influences my perception of color in presenting a photo… and perhaps, if I get to understand the second transformation: what a portrait should convey.
unlike the previous post, in that I am very familiar with Michael Kenna’s work, I am not familiar with Nancy Rexroth. thus, I cannot say what her style, if she has one, is like. however, I can glance at her work in the magnificent re-print of her book IOWA, and know that it is a plastic “toy” camera: in this case, a Diana. this is exemplified by the photo below, which I think it is exemplary of the use of a plastic camera. for example, the increased contrast in the center is nicely utilized to accentuate geometry/form, along with the lower contrast, vignetting, and blurring on the edges to include the subject of the photo.