Category Archives: Photographers

August Sander

A master portraitist.

Click the image for Amazon – I get no payment if you do that.

August Sander’s ‘People of the Twentieth Century’ is the concise version of a like-titled seven volume set in which the photographer set out to document all the personality types of his native Germany. My copy dates from 1993 when I was living in La Jolla, near San Diego, a stone’s throw from the wonderful John Cole’s Bookshop, now long gone. The book remains in print at a startling $85 or so, but it’s worth it. Even back in 1993 it ran me $55 + tax. A lot and yes, Amazon was not yet in existence.

There’s a temptation to ‘recognize’ the clichéd Germanic personalities portrayed here – the arrogant aristocrats with their vast estates, the butchers with their no less vast waistlines and so on, but the reality is that these archetypes would not have been that much more different had the images been of Englishmen, the French, Italians or you name it. What is brought sharply into focus is that the ‘trades’ were a much more esteemed place to be back then, most requiring lengthy apprenticeships before the student could proclaim himself a master. Be it woodworker, plumber, cook, tailor or butler, all required long periods of training before expertise could be proclaimed.

That was in the between war years before mass production and standardization obsoleted hard-to-acquire skills, rendering creation and repair anachronistic concepts in a world where rapid obsolescence and high labor costs make it cheaper to recycle and replace than to repair and renovate. That was largely America’s doing – the production line and people replaced by machines. As the old saw (sorry) has it, if two carpenters turn up at your door, one with hand tools, the other with electrical machines, only a fool hires the former for the latter will do a far better job in less time and with greater precision than the once esteemed craftsman.

Sander’s book speaks to the latter and it is a fascinating thing to behold. Just don’t expect to find any humor here for in typical German fashion it’s totally absent, replaced by a ruthless efficiency, one devoid of emotion or caring.

Carleton Watkins

A master of the lansdcape photograph.

One reason I spend as little time as possible looking at modern landscape photography is that it pretty much peaked with the work of Carleton Watkins, some 150 years ago. Since then we have had the blight of Ansel Adams and his garishly over-processed oeuvre, the damage further compounded by legions of his acolytes who appear never to have had an original idea in their lives, judging by their slavish copying of the work of that poseur. Adams has been good for sales of high end gear and just awful for the art of photography.


Cape Horn by Carleton Watkins, 1867.

Click the image to go to a Slate article profiling many of Watkins’s photographs, the originals in the Stanford University library.

Michael Reichmann

Very, very special.

Michael Reichmann runs one of the oldest (meaning 15 years old) photography sites on the web, named Luminous Landscape. His claim to one million monthly visits suggest few photographers have not visited there and while I am one who has, my visit frequency runs maybe quarterly, because landscape photography, that site’s core interest, mostly leaves me cold. Or catatonic, if you prefer. I blame that on being exposed to Ansel Adams’s work before puberty which I swore left me infertile until my son Winston was born when I had reached 52. I’m pretty sure I’m the father given the resemblance.

However, recent sneek peeks at LuLa, as most know it, piqued my interest, for some of the street snaps Reichmann was making in his summer home in San Miguel de Allende in Mexico – an understandable choice of venue if you otherwise call Canada home during the winter – were breathtakingly good. Life’s too short to be cold.

Thus when Reichmann announced the creation of his foundation, and a partnership with LensWork as the publisher of his images from Mexico, I was all ears …. errr, eyes, because what little I had seen of his street work was memorable indeed. The fact that proceeds of book sales go to funding photographic projects makes me feel good into the bargain.

I just received the book – some 63 images in paperback format – and the work is spectacularly good.


Click the image to order the book.

I’m not sure what my $59 got me – seems like I will receive three more LensWork monographs – but if this is all I get I have no complaints.

The images draw on Ernst Haas (blurred bullfights), lots of Saul Leiter, images worthy of the fabulous Donald Jean, hints of HC-B here and there (see below), but above all Reichmann’s individual signature is clear. Tight compositions, sparse use of color in the style of Pete Turner but in far better taste, a clear love of his subjects which evokes the warmth and generosity of spirit of Mexican people …. it’s all there.


Bullfight practice. Reichmann’s gorgeous composition on display.

Highly recommended, at any price. And, best of all, there are only five landscape snaps included, all confirming what I learned of the genre back when I was in short trousers.

Update May 19, 2016: Sadly, it was announced today that Michael Reichmann died of cancer.

HC-B – Here and Now

Much unpublished work included.


Click the image for Amazon US.

The best reason to buy this 400+ page book is that there are simply dozens upon dozens of images I have not seen before – which probably means you have not either – and many are worth seeing.

The cover image of HC-B with the Leica II and the flat nosed black nickel (later ‘Vidom’) finder (barely better than the awful one built into the body) is by George Hoyningen-Heune. The lens is the 35mm f/3.5 Elmar (a really tiny optic, and no great shakes optically, in addition to being uncoated) and likely the reason that HC-B is using an external finder, as the one in the body was for the 50mm lens only. Incidentally, this body had no rangefinder – focusing was by guesstimation. Leitz finally got the optics down in this focal legth with the post-war six element f/3.5 (later f/2.8) Summaron, and I happily used both for decades on my M2 and M3. The 8-element Summicron was every bit as good but a stop faster at f/2 and gestated into newer versions with fewer elements and aspherical glasses later on, all very compact. But the Summaron is really all you needed for street snaps.

The book is highly recommended.

Watching a genius at work – Geoffrey Unsworth

American Art.

Purists and aesthetes would have you believe that Motherwell, Rothko and Pollock are what passes for American Art in the twentieth century.

Utter rot.

Where America’s genius lies in the world of art is in the movies.

And while you could argue that a British cameraman making American movies flouts that rule, the reality is that Geoffrey Unsworth, British cinematographer extraordinaire, could only have worked his magic in the United States, the land of infinite opportunity and imagination. And the land of abundant risk capital.

2001: A Space Odyssey remains Unsworth’s masterpiece, but if you seek a perfect evocation of America between the wars, one of infinite hope and generosity, then Superman is just the ticket.

Just take a look at these images, then watch the original in Blu Ray set to John Williams’s music:

When Superman – the fabulous Christopher Reeve – takes Lois for the flight around Manhattan, the myth is complete:


Is this photography or what?

Technicolor? But of course. British genius? Of course. American capital? Natch. Made in Pinewood Studios, Buckinghamshire.

Watch Superman.