Photographs, Photographers and Photography

August 10, 2010

George Tice

Filed under: Book reviews — Thomas Pindelski @ 4:00 am

A photographer from New Jersey.

One of the more treasured books in my photography library is this small monograph on New Jersey photographer George Tice (b. 1938). Tice is perhaps best explained in his saying “If I were given the choice of traveling to China or Missouri, I’d probably pick Missouri. I want to be known as an American photographer.”

It shows in his work which is calm, restrained and clearly imbued with a love for his country. There is none of that denigration of the worst that can be America so often seen in Cartier-Bresson’s pictures taken on this side of the pond. Rather, there’s a gentle, insightful approach of one who clearly loves where he is.

One of my favorites is of the interior of a seemingly deserted barber’s shop in Paterson, New Jersey, whose window sign proudly proclaiming ‘Joe’s Barber Shop’ is missing several letters (p.53). There’s no need to replace them, you can hear the proprietor thinking. Every one knows where the local barber shop is. It’s been there for ever, after all. A lovely memory of the best that small towns bring.

The book remains available from Amazon and you can go there by clicking the picture above.

June 23, 2010

National Geographic Traveler

Filed under: Photographers — Thomas Pindelski @ 4:00 am

A source of inspiration.

I was leafing through (OK, flicking through, on the iPad) the current issue of National Geographic Traveler, much inspired by some of the great photography, when I came upon this truly stunning image.

A face of rare warmth and beauty. No surprise that it was taken by master French photographer, Eric Lafforgue, profiled earlier in these pages.

You can read electronic versions of the magazine on your desktop, laptop or iPad for the princely sum of $11.50 for one year’s worth, and have an endless source of inspiration. They are accessible through Zinio , a well supported site and iPad app. Forget the poky iPhone’s screen, for it cannot begin to do the work justice.

June 15, 2010

Five years old today

Filed under: Photographers, Photographs, Photography — Thomas Pindelski @ 4:00 am

This blog, that is.

Daniel Boorstin, Librarian of Congress, said “I write to find out what I think.” I find I am like minded. Setting down ideas each day is a helpful process which, I suppose, is why I write this blog.

So it comes as a signal pleasure to relate that this journal is five years old today.

First post date …. for UK readers, at least.

Those five years have seen a revolution in the technology of photography, exemplified by my own experience. This photographer was a Leica devotee of some 35 years’ happy use back on June 15, 2005, with some serious Rollei medium format gear on the side. Today the hardware consists of a Canon 5D when the very highest quality ‘medium format’ quality is called for and a Panasonic G1 for street happy snapping, with the diminutive Panasonic LX1 in the glove compartment. Not a film camera in sight, these all having moved to collectors’ closets over the past five years, neatly paying for most of the digital gear in the process. Now while digital gear has all the charisma and charm of a cold war era Soviet politician, unlike that bear of old it does produce consistently, at a quality level superior in every way to film and getting better daily. What’s not to like? OK, so you no longer regard it as an heirloom to pass down to your nearest and dearest, as it will be unrepairable electronic detritus five years hence, but it is so cheap and so competent that the result is a win for the user and the maker. Confirming what I wrote, to much opprobium, on July 5, 2005, Film is dead. And so is Kodak.

The software front here has enjoyed a rock stable combination of OS X on various Macs accompanied by Lightroom which is now in its third iteration, though the changes at the margin are becoming …. marginal. A robust pair that never lock up and continue to make me wonder, as I have for the past decade, why anyone valuing his time would use the fraud that is Windows.

Processing hardware has been less of a joy, not helped by a litany of failures from Apple’s awful hardware, with only the iPhone being distinguished by its reliability, likely accompanied by the too-new-to-say iPad. Mercifully, I saw the light a while back and built my own HackPro from inexpensive PC parts and it has been running totally glitch-free 24 by 7 since put into service. It’s as fast as just about any overpriced MacPro on the planet and a fraction of the cost, not to mention infinitely upgradeable for low outlay. The advent of OS X for Intel CPUs made this possible so it was not a practical proposition until fairly recently. Every self-respecting photographer who demands the very best in performance from his processing hardware should consider building one of these, avoiding Apple’s overpriced, short lived desktop and laptop jewelry like the plague.

Mention of the iPad does not require much of a stretch to pronounce that the PC is Dead. The form factor and user interface of this device will come to dominate content consumption and creation over the next five years in much the same way digital imaging has come to dominate photography over the past five. Our children will ask why anyone in their right mind ever used a keyboard, one of the few remnants of antiquity in modern societies. Get ready to say goodbye first to your clunky, overheating laptop and, eventually, to your desktop gear.

No mention of hardware can be complete without lauding HP’s now discontinued DesignJet 90 wide format printer, which makes fade free prints in sizes up to 18″ x 24″ without complaining and does so at very modest cost. It made possible my one man show a while back and I bless it daily. A tool which does exactly what the maker claims – makes superb prints. It remains a great value on the used market though I suppose that, with the advent of cheap large screen TVs, I ought to add the the Print is Dead and the ecosystem of the world can only benefit.

On the personal fulfillment front, or whatever the current psychobabble calls it, photographic life has been eminently satisfying, seeing the production of two books of photographs and a one man show in April 2007. Lots of hard work and lots of fun.

This journal has also been lucky in featuring the work of many outstanding current and past photographers, and you need only click the drop-down menus on the right to see their work. If I were forced to name five who have most affected me and my work they would be Cartier-Bresson, Doisneau, Penn, Porter and Horst. All are profiled on this site.

And finally, there’s the list of stinkers which you can see by clicking here. These range from jerks like ‘Anonymous’ who posts idiotic comments here, to unscrupulous photographers who think nothing of turning tragedy to profit by false means, conflicted ‘journalists’ who laud gear after first making sure future free loaners are guaranteed, and modern day crooks like Google who are robbing us of our privacy while jealously safeguarding their own. This will not change, for there are fortunes to be made, as these miscreants have learned, from human gullibility. This blog remains totally revenue free (meaning I make nothing, zilch, nada from it – even my modest book sale profits go to charity) with no click-through earnings of any sort, so you can expect it will remain outspoken, skeptical and fearless over the next five years.

Celebrating five great years.

Thanks for stopping by this last half-decade and I hope we are both around five years’ hence.

May 27, 2010

Adobe Flash on the iPad

Filed under: Photographers, iPad — Thomas Pindelski @ 9:02 am

Tough luck, Steve.

Following up on my April Fools’ Day prediction, yesterday’s news brought the not unexpected fact that Apple’s market capitalization now exceeds that of its old nemesis Microsoft. Given that the fruit company has a great CEO and the other one has a clown in the corner office, that’s not all that surprising. What is amazing is that Microsoft’s shareholders have stood idly by for over a decade of this buffoon’s rule, a period which has seen Microsoft’s market capitalization more than halve from a peak well in excess of $500 billion.

Ten years of Ballmer and Jobs

Certainly, innovation never darkened Microsoft’s doors, and its insistence on purportedly open systems (open to what? phishing? viruses? security holes?) has much to do with its demise, clown CEO apart.

So it’s intriguing to watch the public spat between Apple and another poorly run company, Adobe, over the use of Adobe’s Flash (which Adobe claims is ‘open’) on Apple’s mobile devices. That, per El Jobso, is strictly verboten. Now Apple’s claims that Flash is slow and full of security holes and chews up battery life may well be true. But it’s also not lost on me that Apple’s ban of Flash allows it to maintain strict control over its mobile devices and, last I checked, the profit motive is alive and well at 1 Infinite Loop in Cupertino.

So make of it what you will but don’t expect to see Flash sites on your iPad.

Until now.

Check yesterday’s journal and you will see that I am now running the LogMeIn remote desktop on my iPad and it allows me to view Flash sites just fine via my desktop HackPro. As an example, here’s what you get if you dial in the estimable Jill Greenberg’s site on the iPad’s Mobile Safari:

Flash No Go from El Jobso on the iPad

Now dial up the site using LogMeIn and all is sweetness and light:

Flash on the iPad

And you get the best of both worlds. The remote Flash site cannot infect your iPad and you can see it just fine.

By the way, the stock chart, above, from Yahoo Interactive charts, is rendered using Flash. So yet more power to this iPad toting investor.

A note on desktop settings for LogMeIn:

Here’s how I have Energy Saver set on my Hackpro desktop:

This switches off the displays after a period of no use, but never allows the computer to sleep, thus allowing remote access at any time from anywhere.

May 2, 2010

Beautiful Planet

Filed under: Photographers, iPad — Thomas Pindelski @ 6:57 am

Gorgeous photography.

A newly released iPad app displays the globetrotting work of photographer Peter Guttman.

It’s called Beautiful Planet, will run you all of $1.99 and showcases Guttman’s work in the best way possible, using the full iPad screen in landscape format. It’s the first photo display app which does the iPad justice, mainly because the quality of photography is as good as it gets.

Tap the opening screen and you see a scrollable map of the world.

Touch a thumbnail and you are transported to a show of pictures from that region of the world. Rather than spoil the fun, I’ll just say that it’s the best $1.99 you can spend on pictures and shows what a transformative display device can do to showcase your work. A coffee table book in your shoulder bag, weighing 1.5 lbs.

Now just imagine how this will look on a future 21″ iPad!

April 13, 2010

iPad – which size?

Filed under: Photographers, iPad — Thomas Pindelski @ 4:58 am

An interesting exchange.

I was sitting on the couch with that insouciant boulevardier Bert the Border Terrier, whiling away a pleasant evening hour catching up on world markets on the iPad and enjoying the Unfair Advantage it confers upon the user when, appropriately enough, in comes an email from quite literally the opposite end of the world – Jakarta, Indonesia.

The iPad, as everyone except maybe the Pope knows by now (he seems to know nothing, or so he would have it), comes in three storage sizes, 16, 32 and 64gB, and I elected the 32gB version for the two I picked up on iPad Day last week.

The email came from American photographer Brandon Hoover, whose fine travel photography in Asia can be seen here. He wrote:

To which I replied (yes, that really is me in the picture – Cary Grant looks just like me):

Brandon followed up with:

And my response:

And finally:

Now at this juncture, Bert the Border came to life and inquired, none too politely, when I was going to put the iPad down so that he could get in some serious tree and lamppost action, so I donned my best English Tweed (OK, Scottish Tweed) jacket and off we went on a gorgeous California evening to commune with nature.

As luck would have it, a friend had recently given me his 3G iPhone (I got him into AAPL at $187 and it’s now at $242, so he owed me! My 2G is off to the recyclers after 3 years of hard work.) and I popped it in my pocket thinking no more of the matter. Then it occurred to me that maybe the above exchange might be of interest to readers, so I whipped it out (the iPhone, that is) and sent Brandon a quick request, using 3G no less, asking whether I might publish our exchange. He kindly approved the idea seconds later. Now you must admit that, no matter how blasé we get about technology, there is something incredible about walking your dog on a California evening at 7:25PM PDT and sending an email to Jakarta, Indonesia (or maybe it was Manila in the Philippines) with the reply coming back at …. 7:25PM PDT.

You can follow Brandon’s writings at his nicely designed blog and you don’t even need an iPad, though it looks just great on mine!

Read all my iPad ruminations by clicking here.

April 11, 2010

Storm Thorgerson

Filed under: Photographers — Thomas Pindelski @ 8:16 am

A creator of outstanding imagination.

The work of the graphic artist Storm Thorgerson, heavily dependent on photography, is part surreal, part abstract and totally original. It has graced the covers of rock albums for decades, mostly famously this one:

And if you don’t know what that is about, you have some catching up to do. Click the picture for more.

March 24, 2010

Mark Seliger

Filed under: Photographers — Thomas Pindelski @ 4:25 pm

Exceptional work

Mark Seliger’s cover shot for the April 2010 issue of Harper’s Bazaar may have the benefit of one of America’s true beauties as subject, but the picture is incredibly reminiscent of one of the greatest fashion photographs ever taken and is quite superb in its own right:

Here is Seliger’s take on Demi Moore in a dress by the late Alexander McQueen:

Demi with giraffe

Surrealism, a superb setting, two gorgeous subjects …. and check out Demi’s shoes! The whole spread is tremendous but this cover is the showstopper.

And here is the original which inescapably comes to mind, illustrating Dior’s New Look in the late 1940s:

Dovima with elephants

To Seliger’s credit, his animal is free, unlike the chained-down ones Avedon used. Just check the elephants’ feet.

Sure, Harper’s, Vogue and Vanity Fair are celebrity obsessed, but they also attract the world’s best photographers which is as good a reason as any for subscribing. There is more great photography in those three monthlies than in all the artsy-fartsy black and white photography magazines for Real Photographers put together.

February 12, 2010

Ed Hebert

Filed under: Photographers — Thomas Pindelski @ 2:41 pm

A fine New England photographer.

I first came across Ed Hebert’s work when photoblogging a few years back and suspect that our shared love of both Edward Hopper and Keld Helmer-Petersen was the catalyst for my interest. While Ed frequently does extensive post-processing on his images there’s no issue of striving for effect, for his originals are powerful, sparse, well seen and expertly composed.

Ed makes his home on the Atlantic Ocean in Fairhaven, MA, and you can see his love of the seaside and its landscape from the many examples on his beautifully presented web site. His strong design aesthetic is clearly reflected not just in his work but also in its presentation.

Here are a few of my favorites, reproduced with Ed’s permission – see more by clicking the link above for his web site where you can both view and purchase his work. Ed’s comments, below, are italicized.

* * * * *

Most of my photography is nothing more than a visual representation of the relationship I have with my environment. My photography interacts with the elements of my surroundings in a manner that provides an immediate and palpable sense of place – wherever that place may be. And it’s usually simple, common objects or visual fragments of these elements that hold the strongest allure for me. These fragments are what gets extracted from the whole when we experience our world every day. It’s the stuff that burns into our memories when we think back hoping to remember these places years from now. These fragments of future memories are my subject matter.

I’ll find my subjects in the most common of everyday objects and places – they are mailboxes, doors, benches, signs, paths, structures. These commonly overlooked objects reward me with a defining memory of my experience of the moment, and in return I try to reward them with an uncommon moment in the spotlight of visual recognition.

Since I’ve spent most of my days on the shores of coastal New England, I imagine my style is most heavily defined by this region. But while my subject matter reflects my surroundings, I think my style follows a bit of a more reserved and restrained approach that is commonly associated with New Englanders. If so, guilty as charged.

Since I might be approaching my photography with more restraint, I’m not often interested in capturing objects or landscapes with the same majestic style of those photographers whose images often find their subjects gasping with immediate pleasure, as if watching fireworks explode overhead. Instead, my work is celebrating the quiet beauty of everyday places and objects usually overlooked in favor of a more overtly attractive subject. Further, I typically offer my images with a quiet, sometimes even melancholic presentation. They speak with a much softer voice, and to some the work doesn’t speak at all. But for those who spend time with the photographs, the objects usually keep speaking. Critics of my work have mentioned that it wasn’t until a second or third viewing of an image that they began to understand what was being offered by the photograph. From there, they began to connect with the emotional outpouring offered by the seemingly simple compositions.

These photographs are nothing more than my memories of the world that’s surrounded me. My hope is that by making these photographs, others will appreciate or connect with these memories as well.

* * * * *

Catboat, Screen Door – This photograph was made on Nantucket, and presents a representative fragment of the local personality. The catboat decorated door rail and weathered bronze handle help define the understated, seafaring architecture of this coastal area.

Green Hull and Bilge – The subject of this photograph is one that most would find of little appeal. It’s the water line of a well-worn commercial fishing boat hull, taken as it pumps its bilge into the water of the working harbor of New Bedford, MA. The play of light on these textured hulls presents some uncommonly beautiful abstract compositions, which I’ve assembled into a series called The Shipyard.

Bench – This is a simple bench that sits on the porch of the building of a cranberry grower in Rochester, MA. One shutter peers open in the window, as if someone recently took a peek outside.

Mailbox – This is the mailbox of a neighbor from down the street. The husband has passed away years ago, but his name still tops her mailbox, its bent flag waving to no one. He is gone now. I think this mailbox is telling us all of this itself.

Oil House and Lighthouse – This lighthouse is a local landmark in Mattapoisett, MA. It’s been photographed by thousands over the years. While the Lighthouse enjoys considerable attention, an interesting oil house sits just a few yards away, overlooked by almost everyone who visits the site. Here, I give the oil house the forefront, and relegate the lighthouse to a supporting role.

February 3, 2010

Alberto and Henri

Filed under: Photographers — Thomas Pindelski @ 2:58 pm

Two greats.

The WSJ reports that one of Alberto Giacometti’s great sculptures sold for a record price:

I can never look at this fabulous work without being reminded of the even greater photograph Cartier-Bresson took of Giacometti in Paris in pelting rain, picking up skillfully on the sculptor’s thinness theme.

They simply do not make them like that any more. Let’s hope the sculpture went to a good home.

P.S. You do not have to be poor to have good taste ….

January 21, 2010

Get closer ….

Filed under: Photographers — Thomas Pindelski @ 3:00 am

Oh! dear.

Robert Capa famously remarked that if your pictures are not good enough, you are not close enough.

Maybe this lady photographer needs to get in a bit closer. Certainly, her man must have heard my thoughts – just mouse over the image for a bit of fun (requires Safari or Chrome browser to render).


Honey, I got it. G1, kit lens.

Snapped opposite the old Transamerica Building on Columbus Avenue in San Francisco.

January 19, 2010

Jeff Bridges

Filed under: Photographers — Thomas Pindelski @ 3:00 am

The real thing.

Unless something goes awfully wrong with the universe, Jeff Bridges will win the Best Actor Oscar this coming March 7 for Crazy Heart, the story of a washed-up Country and Western musician.

Now while I would generally pay serious money to avoid having to hear C&W music ever again, I make an exception here for one who is as good an actor as there is.

What I did not know is that Bridges is an accomplished doumentary photographer and you can see his images from both Crazy Heart and Ironman at JeffBridges.com. Like the man the site is funny, unpredictable, interesting and completely without pretense. Go to the Photography section and it’s clear just how hard making a movie really is and how many people work behind the scenes. Thanks to my mother-in-law for sending me there. His wonderfully quirky web site is just lots of fun and well worth a visit. Click the picture below to go to a video of him singing country music – he also did his own singing in the movie. One talented man.

January 7, 2010

Roy Hammans

Filed under: Photographers — Thomas Pindelski @ 3:00 am

A fine English photographer.

Roy Hammans wrote an interesting piece for this blog some thirty months ago on his experiences with Lightroom. Shortly after that I made the move from Aperture to Lightroom, a decision I have never had cause to regret.

What I have learned in the intervening period is that Roy is a fine photographer whose Ash Clippings site regularly showcases his work. It’s unfair to typecast any photographer by saying he or she is a ’street shooter’ or a ‘landscape expert’ or so on, but I doubt Roy would mind if I pigeonholed him as a fine English photographer because so much of his work features the subtle beauty of England’s countryside, lovingly rendered, whether it be as close as his garden or a Hardy landscape on a grand scale.

What’s most striking about his work is not just the fine eye and technical perfection, it’s also his grasp of a large range of techniques from plate cameras and litho prints to the latest in digital and fish eye gear. If you were to ask me what of Roy’s work speaks to me most it would have to be his Hull Series, as I think of it. Here, he has photographed the hulls of old boats in dry dock, on Mersey Island in Essex, in various stages of discoloration and disrepair and the results are simply an abstract dream. Here’s one of many examples – click the picture for more:

They beauty of abstract work is that the viewer can see whatever his imagination is equal to and this one is so clearly a map of the eastern United States it might as well be the real thing. Suffice it to say that if you like Mark Rothko you will love these.

Roy’s fine eye proves what I have always said – you don’t have to travel to find great subjects. Case in point, look at this lovely, gentle image of a pair of courgettes …. picked from his garden. That guy who did all those peppers would be proud.

Roy’s love of the sculpture of Henry Moore is clear in this beautiful photograph, perfectly lit, composed and rendered.

Again, click the picture for more.

But I started this piece by saying that Roy is a fine English photographer and few pictures could better explain what I mean than this charming, seemingly simple, composition taken in an English garden.

For me there are allusions to that great park scene in ‘Blow Up’, the scent of the English countryside and the sound and feel of a light breeze before the rain.

Be sure to stop by either Roy’s Ash Clippings photo site or his Weeping Ash site where he writes with the benefit of great experience and knowledge about photography and photographers. And if you want to die of envy, check out Roy’s purpose built darkroom/lightroom.

January 5, 2010

Lee Miller

Filed under: Book reviews — Thomas Pindelski @ 3:00 am

A woman conquers a man’s world.

It’s hard to imagine being successful at any one of Lee Miller’s callings, let alone all three.

I don’t mean dilettante dabbling. I mean as good as it gets.

Famous model, surrealist artist, war photographer. Miller (1907-77) did all of these with aplomb and was at all times in the center of the action. Whether posing for Genthe and Stieglitz in her modeling days, making a career as a surrealist artist when married to Roland Penrose and living with Man Ray, or being the only woman war correspondent to set foot at the scene of the crime waged on mankind in Dachau, whence she reported and photographed for Vogue magazine, Miller was as good as they get.

This is a splendid book and highly recommended. When you read that Sir Roland’s son, Anthony, did not learn of his mother’s many accomplishments until shortly before she passed away – she didn’t care to speak of any of them – your sense of wonder and admiration for this very special woman only increases.

Her beauty needs no words. Her originality is there for all to see in her art works. And her heartbreaking reportage from the death camps is the sign of a supreme professional. After witnessing the SS torching Berchtesgaden, Hitler’s retreat in the mountains, she was among the very first to enter his Munich rooms and proceeded, in true surrealist fashion, to take a bath in his tub. As she explained – and there’s a picture of her in the act – she was washing away the evil which she had witnessed and photographed just hours earlier. Just ask, which of us would have had the courage to do that, given the chance?

All of this is expertly set forth by experienced art curator Mark Haworth-Booth in this simply splendid book. The extracts of her searing prose for Vogue are almost as powerful as her pictures, many of the latter so horrific that they never saw publication. Seldom have I read such a clear eyed exposition of the German people’s utter complicity in the crimes of their leaders.

A woman for the ages. Any photographer or historian with an interest in Miller’s era should read this.

January 2, 2010

Angus McBean

Filed under: Book reviews — Thomas Pindelski @ 3:00 am

For Beaton fans.

An exact contemporary of Cecil Beaton, the great Welsh photographer Angus McBean chose to specialize in the theater whereas Beaton chose the more lucrative world of fashion and film. Yet a viewing of the less famous McBean’s work shows a level of sophistication and skill Beaton could never equal, whether it’s in the complex sets, creative posing or theatrical lighting.

On the cover – Dorothy Dickson, 1938

This splendid book of McBean’s work shows not only his studio work but also includes an extensive collection of his self portraits which became his Christmas cards. It’s said that his picture of Vivien Leigh was the calling card that got her the role of Scarlett O’Hara and I can believe it. Adjusted for inflation, Gone With the Wind is still the top selling movie ever.

McBean died in 1990 and you can find a fine review of his life and work in the London Times here.

The book is splendidly illustrated; you can get a sense of the man from this Jake Wallis portrait of McBean in his very severe looking library, complete with some 40,000 glass plates of his life’s work:

January 1, 2010

Bob Willoughby

Filed under: Photographers — Thomas Pindelski @ 3:00 am

A great Hollywood photographer.

The great Hollywood stills photographer Bob Willoughby passed away just before Christmas.

Here’s a still from that wonderful Covent Garden set at the start of My Fair Lady with director George Cukor chatting with Audrey Hepburn.

Click the picture for a cornucopia of Willoughby’s work:

December 30, 2009

Posts of the Year

Filed under: Photographers, Photographs, Photography — Thomas Pindelski @ 3:00 am

This has been a productive year for writing about Photographs, Photographers and Photography and I had a blast doing it. I hope you have been stimulated, inspired and, yes, angered from time to time. Without emotion there is no progress.

So, without further ado, here are my favorite posts of the year, in no particular order:

I am delighted to report that the revenue I have derived from this journal in 2009 was identical to that for 2008 and prior, meaning zero. I can assure you that will continue in 2010.

Happy New Year and thanks for dropping by.

Onward and upward:

December 29, 2009

Sisters under the Skin

Filed under: Book reviews — Thomas Pindelski @ 3:00 am

Another Parkinson for the library.

If I make mention of Norman Parkinson yet again it’s for the simple reason that my mother-in-law, a woman of fine taste, gave me her copy of Parkinson’s first book, Sisters under the Skin, for Christmas.

The sensationalist cover notwithstanding, the contents show Parkinson at his very best. Simply stated, Norman Parkinson is the Renoir of the camera and, mercifully, there is no recourse to black and white for its own sake. I increasingly think of black and white as an excuse sought out by photographers who are struggling with mediocre color material. When Parkinson uses monochrome it’s because it’s the right thing to do.

You see women in all their glory and infinite variety here. Iman with an impossibly long neck, a slutty/sultry Bianca Jagger, Elizabeth Taylor – never more beautiful, an equally lovely Lesley-Anne Down rendered in pastel tones, and a simply charming portrait of the Queen Mother, warm and tender. There’s Twiggy at the height of her fame, Princess Anne very much in charge of her (charging) steed, and that fabulous Van Dongen out-of-focus book cover you will see if you click the link above, from Parkinson’s book ‘Portraits in Fashion’.

This book is enhanced with short stories for most of the pictures, my favorite being the Marisa Berenson one where some crass git remarks “Goodness, your backside is collapsing like Mahtma Gandhi’s dhoti” to which the superb Marisa replies “Who’s she?”.

Wenda Rogerson (Mrs. Norman Parkinson) makes a spectacular appearance in perhaps the warmest photograph in a book suffused with warmth – you can also see her by clicking the link at the start of this piece and, yes, she hangs on my wall to this day. My, even Barbara Cartland looks half human in Parkinson’s hands, layers of make up or not. The only question which constantly comes to mind is how could an Englishman be, well, so Italian?

Very worthwhile searching out on the used market as it’s no longer available new.

December 24, 2009

Angel’s World

Filed under: Book reviews — Thomas Pindelski @ 10:58 am

A driven man.

Angel Rizzuto lead a troubled life. Despite substantial wealth he spent the last years of his life in a seedy single room apartment in New York, whence, from 1952 through 1966, he emerged daily to record the city and its people. Returning, he would put up the window blind, get out his chemicals and process his pictures. Twelve pictures a day for fifteen years …. he had found his calling.

His legacy consisted of nearly 1,700 contact sheets, some 60,000 images in all, which he left to the Library of Congress along with $50,000. Michael Lesy has done an outstanding job reprising the life of this troubled man and his strange quest for immortality.

It’s hard to know how you decide which one hundred or so pictures to present from a lifetime’s output so huge, but the ones beautifully reproduced here are seldom happy. Troubled people on the street, mostly women, and recurring self portraits of the unsmiling photographer. There are occasional bursts of lyricism like the small girl with her poodle (p. 83) or the painter in Central Park (p. 63) but by and large this collection will make you frown rather than smile.

Imagine living and processing all your pictures in this:

Angel Rizzuto’s home and darkroom.

Simultaneously troubling and inspiring, a great tale of one photographer’s odyssey, this book is highly recommended.

December 16, 2009

My years in retail

Filed under: Photographers — Thomas Pindelski @ 3:00 am

A Christmas Carol.

As a kid growing up in London all I remember is that I wanted to do but one thing. Take pictures. OK, that and the awful climate.

In 1965, aged 13, London. The camera is my Olympus Pen F.

There were two obstacles to this noble desire of course and both involved money. Or, in my case, a distinct lack of it. One was the cost of hardware. Cameras and lenses. The other was the cost of software. Film, paper and chemicals.

You see, I had done a miserable job of choosing my parents. My father had decided to die when I was fourteen, though it made little difference to our economics. He was a dreamer who had not one iota of business sense, even though he had single handedly almost conquered the invading German hordes back in September, 1939. ‘Almost’ seemed to be the story of his life. Indeed, had you made the opposite of his choices, you would likely be very affluent indeed by now. Still, I’m glad he chose my mother.

My mother, who never ceased to tell me of her noble ancestry in far away Poland, never mentioned the fact that nobility doesn’t exactly set you up for a lifetime of steady income, especially when an invading enemy has made off with your lands and coin. Her nobility got her a job as a doctor’s secretary where, for some nineteen years, she managed to make ends meet, thereafter delegating the responsibility to me. Anyway, you can address me as Count Pindelski henceforth.

Thus I found myself oldveau pauvre where what I really neeeded was a spot of nouveau riche.

So I had to find some way of feeding my habit of photography and retail sales were about the only thing available in a nation of shopkeepers.

In its earliest gestation that role was at Harrods, the posh Knightsbridge department store, then still renowned as part of the House of Fraser years before one Mohamed al Fayed bought it. This is the same fellow who cannot seem to get English citizenship no matter his billions, and whose son famously went for a fatal car drive with the queen of the gossip columns. Middle Eastern trash meets White trash. His father proved that poor judgment ran in the family, convincing himself – but no one else – that Prince Philip had fixed the brakes on the car …. and he wonders he can’t get a British passport.

My first job at Harrods was in the Tube Room (Rube Room), an instrument of modern torture comparable only to the worst the Spanish Inquisition had to offer. In the cavernous underground city that is Harrods’ storage and supply repository, complete with streets and electric cars that purr away quietly under the main thoroughfare of Knightsbridge, the Tube Room was where a small fortune in copper tubing terminated. Each tube originated at a sales location in the giant store so when you entered the room it was like entering some Victorian hell, which of course it was, out of sight of the wealthy who under no circumstances should see change being made. Their cash proffered to the sales clerk, it would be stuffed in a small, tubular container with a sales receipt, and sped on its way by compressed air to Yours Truly in the Tube Room, where it would pop out with a gigantic whoosh of pressurized air, deafening all within a hundred yard radius. I had to make change, bank the cash and return the tube to the system so that the customer could walk away happy. And God help you if you confused the Food Hall tube with Ladies’ Furs. Servants shopped in the former, their mistresses in the latter.

Harrods

After a faultless week, for which I thank an educational system which used to teach arithmetic, I applied for a mercy transfer, having already set a new duration record for any Tube Room operator. The loony bins of England are full of chaps who served in the Tube Room. Once my hearing and nerves recovered, my battlefield promotion and shell shock saw me transferred to the Chief Cashier’s office, headed by one Mr. Shinn, a character straight out of Dickens. History fails to disclose whether there was an under Chief Cashier and given that Mr. Shinn was a raving pansy, I hate to think what the job involved. Mercifully, unlike the monks at my school, he did not like little boys.

My role in the Chief Cashier’s Office of this august institution, Hatmakers to HM Queen Elizabeth II (she bought her undies at Marks & Sparks), was to accompany a doddering eighty year old ‘security guard’ with a briefcase chained to his wrist. Twice daily we would empty all the cash registers in the store, the envelopes overflowing with HM’s likeness, signed and sealed at each location and stuffed through the slot in grandpa’s bag who, every now and then, would take a swig from his hip flask. I don’t think water was involved. Now counting other people’s money is hardly my idea of fun but I did get to hang out in the ladies’ Personal Accoutrements section a lot and established a fine friendship with the lovely young women serving the nobs (nobesses?) with the latest in personal garments. That was always my favorite stop where I loved to linger(ie).

After a couple of school holidays counting all that money – this was before credit cards ruled – I got tired of the commute to Knightsbridge and found another retail job at Kensington Cameras on Earl’s Court Road, right around the corner from our miserable fourth floor walk up flat (‘our’ being mum and me). There you would find me selling film and taking D&P orders from the locals, most of whom seemed to be itinerant Aussies complete with the obligatory backpacks covered with patches from various hell holes they had visited on their travels. ‘D&P’ was not some perverse practice, standing rather for ‘Develop and Print’, which got your roll back to you in strips with 36 black and white prints generally ill exposed and blurred to boot. The scratches on the film were no extra charge. Aussies couldn’t afford color and they certainly couldn’t take pictures, probably because they were mostly drunk. The only thing I recall of this miserable position is that we always had to check the job returned from the lab to make sure everything was suitably awful before handing it back to the customer. Whenever something saucy crossed the tape you could bet that one of the two proprietors – Bruce Waterman and David Geller – would make off to the back room to double check that all was well with the printing.

Earl’s Court Road

Actually, that’s not quite fair. The funniest thing that happened at Kensington Cameras was when a distraught customer came in complaining his camera was jammed. “No problem”, quoth I, “I’ll just get the changing bag out and fix it”, the ‘changing bag’ being a black cotton bag with two light proof sleeves which allowed you to manipulate things in broad daylight. “No, no” the customer protested. “I’ll do it”, whereupon he proceeded to open the camera in bright light on KC’s counter, his eyes resolutely closed as tight as can be ….

On to the big time. This is about 1966. I applied for a job at Dixons at 159-161 Kensington High Street (amazingly still there today – right next to the wonderfully named Adam and Eve Mews, beloved of straying husbands and their dolly birds) and because the manager was a Canadian who liked the English, was given the position and a nice raise. They only found out I was a dumb Polack later, when I completed the application form. Dixons was then a small chain of retail stores which consciously focused down market and pushed D&P and movie cameras, which is where the money was. They had a line of the most awful movie cameras, made of pure pot metal which gave plastic a bad name, sold under the name Prinz. Now and then a contest would be held for the best catchy one liner, the one I recall with fondness being ‘Zoom Day my Prinz will come’. The lady writing that one declined to disclose any other thoughts on manhood but was rewarded, nevertheless, with a roll of Kodak’s finest 8mm cine film, running time four minutes. I don’t think Dixons ever quite got the double entendre.

Dixon’s location in Kensington, London, W8.

Sadly, the charming Canadian who had hired me was promoted to Dixons Central soon after I started, to be replaced by a genuine boor named Des O’Connell. Des didn’t so much have a chip on his shoulder as a sequoia, and no matter how often I told him that I was born in Dublin of escaped Polish refugees, Des never got over the fact that I spoke the Queen’s English whereas he had majored in Bog Irish. Worst of all, he had skipped history lessons and insisted on wearing a Hitler-style mustache which was, on reflection, just what the doctor ordered. What I thought of as ingratiating myself with the boss, a shared land of birth and all, seemed only to increase his hatred for me. Ireland, which ranks first amongst England’s failed attempts at foreign rule, seems to engender especially strong feelings from its denizens toward its former opressors. Mercifully, Des hated just about everyone so I didn’t feel especially singled out. Truth be told, it would have been pretty worrying had he liked me.

I have but two memories of Des. His awful mangling of the mother tongue and his blast furnace breath, a delightful mixture of cheese and (Irish) beer, which seemed to radiate in all directions in a five foot radius about his person. This, of course, ensured everyone kept their distance, which he put down to English standoffishness. However he did teach me a valuable lesson. I have been vigorously denying that Dublin was my birthplace ever since.

I did however make some great friend at Dixons, where I worked every Saturday and during my school holidays. Stores were still closed on Sundays in honor of some ridiculous Puritan concept of not dirtying your hands with commerce on the Sabbath, unless that commerce involved handing over loot at the local palace of perversion, also known as the church. Empire building had been strictly a Monday through Friday affair in England for a few centuries and old habits die hard.

Gary Smith was the Assistant Manager for whom Des kept an especially malicious place in his heart. Des, having risen well above his level of competence, rewarded with suspicion and dread any who threatened his exalted position. A gentle giant of a man, Gary one day came into the store limping badly and somewhat the worse for wear, nursing a bruised set of knuckles. It transpired that a car had knocked him down at a local pedestrian crossing and Gary, full of the sense of fair play his ancestors had displayed on numerous battlefields for a millennium or so, had remonstrated with the driver only to be met with a hail of abuse. So he did the only rational thing a big bear with no enemies would do and smashed the driver’s side window. With his fist.

Irfan Haq became a close friend. A diminutive Pakistani with a wonderful wit, he was not only an ace salesman but a warm, friendly human being. Now you need to understand that the Pakistani and Indian populations in England were, at the time, a growing cause of concern amongst rabble rousing politicians. Having been roundly thrashed by a little guy in a loincloth and spinning wheel, the English were naturally not a bit miffed at the prospect of being overrun by the hordes from their former colonies and many hewed to the neo-Fascist rhetoric of one Enoch Powell, a barking-mad politician who pronounced that the free immigration of all these unwashed masses would result in a ‘River of Blood’ in the streets of London. Not much changes – they are called ‘conservatives’ in today’s America.

A little guy in a loincloth.

The United Kingdom, in its infinite wisdom, had made the boo-boo of granting citizenship to all in its colonies so, when the colonies refused to be colonial, those leaving them did so with English passports in hand. And their first port of call was, of course, England. Powell (another twit with a Hitler mustache – what is it with these guys?) could not have been more wrong, for all these poor immigrants wanted was a job and hot running water. They make the trains run to this day and do the jobs their former oppressors refuse. The colonists have been colonized.

Enoch Powell. A brilliant scholar and
genuine English loony.

Powell’s grandfather had been a coal miner, suggesting an unprecedented degree of social mobility by his descendants in a nation which frowns on the concept. From black lung to black heart in two generations.

But Irfan sloughed off all of this hatred and reveled in being British. Plus, like me, he loved that most cerebral of games, cricket. (To this day the single worst thing I can say about America, my adopted country, is that it doesn’t ‘get’ cricket.) India and Pakistan have returned the favor of colonialism by roundly thrashing England at their own noble game ever since. Never mess with a man’s googly.

One of the perks of working at Dixons was that we could borrow any piece of equipment of our choice over a weekend, so Irfan and I would generally get the best they had – meaning a Nikon or Pentax (we weren’t allowed to touch the Leicas!) – and would go off photographing London with free gear over our shoulders on Sundays, our day off.

My favorite Sunday ‘loaner’ from Dixons – the superb Nikon F

The friendship which was the most fun was with Anthony Harvey. Like me Tony was a victim of the best English schooling had to offer (unlike mine his parents had to pay whereas I got the guilt scholarship they awarded to those of ‘foreign extraction’ as it was charmingly put), which meant that our English diction was calculated to drive Des crazy, something we enjoyed doing at every possible occasion. Like Irfan, Tony was an ace salesman and, being somewhat older than I, was always assigned the gentry business. He was, after all, not only white but genuinely British and an old Harrovian to boot. As often as not a customer would announce that they were Lady this or Sir that, which played right into Tony’s sales talk, not least because he sounded like one of them and they felt that they were speaking to one of their own. Which they were, Tony being a drop out from a well-to-do aristocratic family. Never mind the fact that their checks, generally from the private bank of Coutts & Co., invariably bounced once or twice before clearing. An English gentleman had every right to bounce a check when, that is, he wasn’t bouncing his mistress.

When Tony learned that I was going on to study mechanical engineering at University College, London he decided we should try some of the principles of destructive testing on what Dixons claimed was the world’s best tripod, a German Linhof. This thing was massive – more steel than in a Krupp weapon of war. We never sold a single one though I have always suspected it was Lord Lucan’s weapon of choice when bludgeoning the household help. I explained to Tony that nothing was indestructible and that machines were routinely tested to failure to see what they could handle. Well, the wager was made, Tony on the side of the the master race, I on the British side, the one of imminent failure. We made a fine test rig. It was off to the stock room under the store where he grabbed two of the tripod’s legs and I the third, pulling in the opposite direction. The crack of brittle metal failure had the rest of the sales staff running down to the stock room to see who had been shot, only to find Tony and I lying on the ground hopelessly convulsed with laughter holding what was now a two piece tripod. “No problem”, quoth Tony cooly, “I’ll just return it and say it arrived broken” which he did and we never heard any more about the matter. Mercifully Des, he of the flamethrower halitosis, was out that day.

Tony later got the wrong girl pregnant (“She is so below me” he would lament, forgetting how much he had enjoyed her being below him a few months earlier, though it needs to be added that the girl was, indeed, a genuine scrubber) and moved to Oxford where he administered matters for the Oxford Farmers’ Union. Neither of us had any idea what this institution actually did, but he got free board and lodging in exchange for menial duties which gave him lots of time to pursue his new vocation of oil painting. I would take the train from London during my university days to spend time with him at weekends and have my picture painted. I recall his style was a sort of mixture of Soutine and Modigliani, but have sadly lost track of both the painter and of the painting which was actually half good.

As the kid on the block I was rarely allowed to deal with big sales, having yet to learn the meaning of the word ‘commission’, but did luck out once. Appropriately it was an American customer who saw me hit the sales leader board. Within seconds of coming in I was ‘Tom’, a familiarity I managed to survive while selling him a Nikkormat FTn with 24, 50 and 135mm Nikkor lenses. That was a nice camera with a somewhat fragile shutter speed-setting ring concentric with the lens mount. The Nikkors, still set in the scalloped metal mounts of old, were as good as they got and a lot better than this customer would ever be a photographer. He would come in from time to time, ask for ‘Tom’ and buy more gear which had absolutely no impact on the quality of his work. It remained awful.

Des, however, he of the gas mask breath, was eventually to get his revenge. One day in 1970 a nice looking, well spoken chap came in asking to look at a Pentax Spotmatic. This was the camera you bought if you were serious but couldn’t quite afford the Nikon F. Sensing a big sale I gladly acceded to his request to try it out on the street and, next thing I knew, Des and I were chasing him down Kensington High Street. I should have known better than to trust a chap in red trousers. I let Des take a strong lead, which was not easy given that I had been a competent runner at school and Des’s girth exceeded his height, but why tempt providence, I thought. The only thing I remember were my grandfather’s words “When in doubt, run away, so that you can come back to run away another day” coursing through my head. Given that Grandfather was a successful economist and banker I paid heed, and loped merrily along watching the Spotmatic recede even faster than Des, who was, I confess, giving spirited chase to one who was clearly an Olympic athlete. Des managed the first 100 yards in something approaching four times world record pace though even a casual observer would have to admit that his speed dropped off sharply thereafter. Well, this was the excuse he needed and I was summarily fired a week later when he had regained his bad breath and the cops had concluded that I was not in on the scam. All I recall during the firing are the crumbs of cheese on Des’s Hitler mustache and wondering how long it took him to trim the wretched thing every morning.

This was another important lesson in life. Quit before you are fired. I did a lot of quitting thereafter before I started working for a real ass years ago. At least he can’t fire me as I have been self-employed all those years.

During all these years in retail I had been squirreling away the pittance I was paid until, in 1971 I finally had enough to buy my dream camera – the one Dixons never let me borrow for the weekend.

The sales receipt for my Leica M3, bought used.

Every spare moment, typically after a day’s work at Dixons, was spent in the local Kensington Public Library poring over the works of the great photographers of the world. Now I could be one of them! And, in truth, it was like a duck taking to water for after being published (and paid!) many times in the photo press, three years later Photography Magazine named me its Photographer of the Year and gave me a bunch of gear to commemorate the occasion. This, of course, I immediately sold to fund film, paper and chemical needs.

Photographer of the Year, 1974. Sculpture by Reg Butler.

My life in retail had, however, come to an end and just three years later I was clutching a one way ticket to America, wearing the same £12 C&A suit from my retail years and headed for a new life. My accent went with me and I was now genuinely English, having had to emigrate to acquire that status. My fondest memory on leaving is of my boss, a fellow named W. G. Carter, whose parting words were “But Thomas, why would you want to go there? It’s full of Americans”. Three years later he was posted to Manchester which was full of the former colonials his ancestors had so abused.

Postscript: Having exploited my Englishness for many years after immigrating to the States in 1977, I was, inevitably, sent on business to London some ten years later. (”Gee, Tom, you can speak those guys’ language” was the analytical thinking). American corporations have always confused motion with action and without their obsessive belief in the value of movement for its own sake both Boeing and Airbus doubtless would not exist. Anyway, after the obligatory pressing of the flesh with my English mates in the office, I decided to put on my best tweed cap and jacket and furled my umbrella just so before visiting the local pub. An English gentleman’s umbrella, you should understand, is for ever to be furled in a land where it rains at least daily. Bellying up to the bar, I ordered a pint of Courage Director’s from the publican. As he handed the brew over he casually glanced at me, asking “Oh! yeah, mate, ‘ow long you over ‘ere for then?”. My accent had migrated west with Horace Greeley and I had been well and truly exposed.

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