Photographs, Photographers and Photography

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.

December 10, 2009

Photographer of the Year

Filed under: Photographers — Thomas Pindelski @ 3:10 am

A master of the surreal.

Erwin Blumenfeld (1897-1969) had two strikes against him when he was born and both nearly killed him. First, he was born at the turn of a tumultuous century which qualified him for service in not one but two world wars. Second, he was born a German Jew.

That he survived and went on to become maybe the most original fashion photographer of the 1950s is a miracle best understood by reading his autobiography Eye to I, which is not so much about photography as it is about survival. The most arresting fact in his memoir is that not for one moment is there a scintilla of self-pity in a life whose privations exceed anything anyone reading this could possibly imagine or experience.

That Blumenfeld survived his Prussian upbringing, under a mother who would rather see him die in the five year long massacre known as World War I than desert to Holland, is amazing enough. Quite why his mother felt this way in a nation of rabid anti-Semites is hard to understand, yet that was her reaction when the young Erwin declared he was going to get the hell out of hell. In the event he failed, barely surviving execution only to see the armistice declared soon after. As he relates it, despite seeing the worst possible service as an ambulance driver, he fired his revolver but once, killing a Saint Bernard dog carrying a boot in its mouth. The owner’s leg was still inside ….

The next 15 years were spent aimlessly in a Bohemian existence in Holland with his wife where the only thing of note that happened is that his handbag store went broke and he discovered that it used to be a photographer’s studio. The nascent photographic soul was ignited. That’s so typical of much of his life where little was planned and much happened. Shortly after he decides the foul climate and unstimulating cultural atmosphere of this nation of burghers was too much and decamps to Paris, where he starts to make headway as a portait photographer. So he comes to photography more than half way through his life!

Miraculously, Cecil Beaton sees one of his society portraits and next thing Blumenfeld knows Beaton has opened the door to Vogue Paris for him. Thence he segues to Harpers’ Bazaar in New York where his work is instantly recognized for its originality and vision, but he returns to Paris tragically just in time to see World War II break out. Timing was not his strong point. Before he knows it he’s in a concentration camp for German nationals run by the French who are about to be overrun, which would have meant certain death for the photographer. He somehow makes his way to Marseilles and after a journey from hell ends up again in New York City. His picture of a murderous Hitler is subsequently dropped by the USAF on Germany by the bushel in the mistaken belief that decent people would revolt at what their government was doing. Quixotic in the extreme when you realize it was that same citizenry who let their government come to power, watching with approval as Europe was overrun. The rest is history as he goes on to fame and fortune as one of the most renowned photographers at Harpers and Vogue the world has seen. Not surprisingly, he shared his New York studio with fellow refugee Martin Munkácsi. Can there ever have been so much talent in so small a space?

Here, then, are some examples of Blumenfeld’s work to savor. There are few books about his work, one of the best being the one I reviewed here.

A lyrical image from 1938.

Political propaganda picture used by the US

Red cross

Typical Blumenfeld vision.

Maybe Blumenfeld’s most famous cover picture. Simplicity defined.

Erwin Blumenfeld is this photographer’s Photographer of the Year.

November 29, 2009

Clemens Kalischer

Filed under: Photographers — Thomas Pindelski @ 12:20 pm

Norman Rockwell’s photographer.

I usually run that Norman Rockwell piece every Thanksgiving but preferred not to do so this year when one part of the US gorges to excess while much of the rest has nothing to eat. Just visit the soup kitchens in your local city and you will see what I’m talking about.

However, an NPR piece on Norman Rockwell’s use of the photography of Clemens Kalischer caught my eye and it’s quite fascinating, never more than when you realize that the subjects are still walking the streets of Rockwell’s town of Stockbridge, MA.

Click the picture for the NPR article. More on Kalischer here.

November 16, 2009

John Phillips

Filed under: Book reviews — Thomas Pindelski @ 4:16 am

A great LIFE photographer.

By 1965 television had replaced LIFE as the primary source of news for households. LIFE folded soon after. Yet the weekly, created by Henry Luce in 1936, once enjoyed a circulation of over 13 million, and it was during those years that John Phillips worked for the magazine.

I confess that when I first saw this massive tome, all 572 pages, I was immediately reminded of the great American novel – something seemingly devoid of any editing and consequently tedious and boring. Nothing could be further from the truth in the case of Phillips’s illustrated autobiography where the writing simply sparkles.

Phillips (1914-1996) worked for LIFE during the years 1936-1959, where his career included publication in the very first issue. As a child at school, when asked what he wanted to be, the unquestioning answer was “I want to be a photographer when I grow up” and that is what he became. With a Welsh father and American mother, born in French occupied Algeria, it’s no wonder he had wanderlust. His travels took him to most of the trouble spots of WWII and, as he worked in the days when photographers did the words and the pictures, the standard of writing in his book is exceptional. You are always left wanting more and the book is a real page turner.

Some extracts:

Four days later we put into Port Taufiq. The authorities there were surprised to see us. We had been reported sunk by the Germans. Leaning over the side of the ship waiting to disembark, I reflected there was no satisfaction in photographing a munitions ship. If nothing happened, you had no story. If something did, you had no photographs.

* * * * *

Taking advantage of our conversation, I asked Mr. Kram (Churchill’s aide) about the Prime Minister’s drinking habits. “He never has a drop of whisky before 9 am” Mr. Kram said. “And before that?” I inquired, half-seriously. “Vermouth”

* * * * *

The King (Farouk of Egypt) and Queen’s private apartments were crammed with Louis XIV and Louis XV furniture. Seen ‘en masse’ it went a long way to explaining why the French Revolution came with Louis XVI.

* * * * *

Curious about the novelist (Evelyn Waugh), I joined him on his constitutional. He talked about education. “My father was better educated than I am, and I am better educated than my son.” This he put down to the decline in Greek studies. “What about engineering?” I asked. “Do you expect my son to be a taxi driver?”

* * * * *

Well, now you know why the British Empire collapsed.

While out of print, the book is readily available on the used and remaindered market and if you like good writing by a photographer who was there when history unfolded, you should pick up a copy. Some of the pictures are pretty hard to take – especially the ones of German atrocities in WWII – but Phillips never pulls his punches.

October 26, 2009

John Thomson

Filed under: Photographers — Thomas Pindelski @ 9:53 am

A nineteenth century Scottish photographer.

“The monkeys persisted in shaking the branches of the trees every time they saw me emerge from my tent to expose the plate, and during the exposure …. kept chuckling and dancing about the branches like black fiends”.

“A Coolie, of artistic taste and oily fingers, had opened a plate box during my absence to examine its points. The firm hold he had taken of the plates left two indelible greasy thumb-prints on each, which came out (on account of the presence of animal matter) with great intensity when the pictures were developed with pyrogallic acid,”

Next time you are in some remote corner of the world with your four SDHC postage stamp-sized cards capable of retaining tens of thousands of pristine images in glorious color, ready to be sent by internet to any place on earth in seconds, think of the privations experienced by this master photographer as he spent ten years wending his way through the far east on a pioneering trip to record its land and peoples.

John Thomson (1837 – 1921) was born in Edinburgh and found his life’s calling in his pioneering work in the orient. His equipment required a donkey cart and two full time assistants to move and dictated that the large glass plate which passed for film be coated with the light sensitive emulsion in darkness. It didn’t stop there. While the wet collodion process he used was a huge improvement on the Daguerrotypes which preceded it, the plate had to be expose while still wet for the image to be recorded. The amazing thing is that many of Thomson’s pictures have an almost photojournalistic quality as he ventured into the streets to capture these early snapshots on his cumbersome gear.

Getting ready for a ’shoot’ – Manchu c. 1868

I became acquainted with his work through Stephen White’s monograph on Thomson (Thames & Hudson, 1985, now out of print) and if pioneer photographers interest you it is very much worth your while tracking down a copy.

Later in 1876-77 he followed up on his work in China and Vietnam to open the eyes of the monied Victorians to the poverty and depravity their industrial revolution had wrought, by documenting the poor and destitute in London. These images have an exceptional immediacy and always reflect Thomson’s studied and balanced compositional sense.

Take this picture titled ‘The Crawlers’ – the story behind it is simply heartbreaking, as related by the author:

The Crawlers have not the strength to struggle for bread, and prefer starvation to the activity which an ordinary mendicant must display. ‘Crawlers’ were women too proud to beg. Weakened by hunger and lack of sound sleep they literally crawled on hands and knees to fetch hot water to make the weak tea that was their chief nourishment. The crawler photographed with a small child was keeping it for its mother who had found a job in a coffee shop. The mother returns from her work at four in the afternoon, but resumes her occupation at the coffee shop from eight to ten in the evening, when the infant is once more handed over to the crawler, and kept out in the streets through all weathers with no extra protection against the rain and sleet than the dirty and worn shawl which covers the woman’s shoulders; but as she explained, ‘it pushes its little head under my chin when it is very cold, and cuddles up to me, so that it keeps me warm as well as itself’.

The Crawlers, London, 1876

Thomsons social conscience work is contemporaneous with that of the more famous Jacob Riis who documented poverty in New York, and no less powerful. Both did more to grow awareness of the awful poverty in our affluent societies than any amount of vacuous talk from elected leaders.

His candid work was no less impressive, as witnessed in this snap of two sailors on a barge on the Thames – The Silent Highway of Victorian England.

On the Silent Highway, 1876.

For whatever reason, Thomson’s work never became as famous as that of other pioneering photographers, yet few can claim to have done so much so well with so little. Highly recommended.

October 20, 2009

Phil Brown revisited

Filed under: Photographers — Thomas Pindelski @ 4:20 am

A fine English photographer.

I had the pleasure of showcasing Phil Brown’s work some sixteen months ago. I strongly recommend you check that piece where Phil had the startlingly original idea of photographing the scenes of urban violence and death after the bodies and indicia of mayhem had been cleared. Compare his approach to Wegee’s slap in the face approach, with blood and guts strewn on the sidewalk. The only thing Phil’s work shares with that master of the macabre is that the pictures are monochrome. The shock of the events now in the distant past is much deeper when you are simply presented with a bland picture of where a murder took place. It makes you think.

Touching base with Phil the other day to catch up with his latest work I learned that he has moved to New York, the cultural, artistic and commercial center of the world, to further pursue his photography studies. A couple of emails later and Phil had provided me with a narrative and some of his more recent work where he documented the hell on earth that is Newark, New Jersey, a city which personifies urban blight. So here, without further ado, in Phil Brown’s own words, is his recent Newark project. Phil has asked that I not deface these with the usual Copyright tag line so as not to spoil the effect. As he says, if people are going to steal they are going to steal.

Being in NYC … and Newark.
Phil Brown

I arrived in New York on a semi-permanent basis in the middle of August 2008, to take the photojournalism program at ICP. That finished in June and for my main project whilst I was there I documented the city of Newark, New Jersey; simultaneously a half hour train ride from Manhattan, and a million miles away in terms of pretty much everything else.

The basic premise of this work was that I wanted to see what one of the notorious failed American cities was like – emphasis on what it ‘was’ like, rather than what it ‘looked’ like. I really wanted to communicate how it felt to walk the streets of Newark, because I really believe that our immediate environment conditions our existence way more than is acknowledged. What I did not want to do, much to the dismay of my teachers, was narrow this down to a story about one particular person or situation.While that may have served as a metaphor for the entire city, if I was lucky, it could also just have become a story about a singular aspect and not given me the freedom to really explore. And so I went there and I walked around.

It’s not clear to me yet what influence New York itself has had on my work, but I do know that the break from London, and getting out of the corporate environment, has given me the time and space to see if I can do anything with photography. The most transformative period so far has been since the beginning of the year when I really started waking up, thinking for myself, questioning the validity of school and the nature of the industry I was trying to get into. As conventional photojournalism seems to have finally collapsed in on itself I maybe should be feeling confused and lost having ‘graduated as a photojournalist’, but instead I think it’s the most liberating thing that could have happened. Now I can strive for what I really wanted in the first place which is simplicity. Just to observe and document, think less, shoot more and take it all way less seriously than I’m supposed to – I’m not there yet, but I’m working at it.

More of my Newark pictures can be seen here.

To see some of my work in progress click here. (Do stop by and take a look – some thought provoking work. Ed.)

October 8, 2009

Irving Penn RIP

Filed under: Photographers — Thomas Pindelski @ 4:08 am

The greatest passes.


Mrs. Irving Penn – Lisa Fonssagrives

Irving Penn has left us at age 92 and is doubtless, even now, arranging the set just so for some new work featuring his renowned high aesthetic sense in the afterlife.

No photographer of the Twentieth Century can match his all around greatness. His superb taste, his extraordinary originality, his sense of design and his exceptional technical skills – all these left one breathless. He truly was a man who proved that talent is distributed anything but evenly across the population.

He has left a prolific oeuvre which all photographers can enjoy and from which we can only learn how woefully inadequate our talents are.

Quote: “The camera makes me nervous. It’s like a razor blade. I’d like to protect myself from the incisions it can make.” There are very few images of Penn, but many by him, which is as it should be.

September 12, 2009

Bruce Weber

Filed under: Photographers — Thomas Pindelski @ 5:09 am

Fellow dog lover.

It’s not hard to recognize ace fashion photographer Bruce Weber. The bandanna and his ever present dogs are a giveaway.

Given that I have hardly ever met a dog I did not like, it’s easy to enjoy this spread from the current Vanity Fair where Weber has photographed himself in a sea of old film cameras, juxtaposed with his dogs as part of a fund raising effort.


Bruce Weber, cameras and dogs.

August 10, 2009

In search of Atget

Filed under: Photographers, Photographs — Thomas Pindelski @ 5:48 am

Remembrance of times past.


In the Mission district of San Francisco. G1, 14mm, 1/500, f/7.1, ISO 100

You can read more about the great documentary photographer Eugène Atget here, though in fairness I should add that describing Atget as a ‘documentary photographer’ is about as accurate as saying that Cartier-Bresson was a snapshotter.

Detail in the overcast sky was recovered using the technique described here. The obligatory corner vignetting, which takes the G1’s wonderful kit lens and makes it resemble the Coke bottle your great-grandfather and Atget shared, was conferred using Lightroom’s Post-Crop Vignette function. Finally, a touch of the graduated filer with underexposure was used to fade the top part of the picture. Atget probably had it easier!

Older Posts »

Powered by WordPress