Category Archives: Photographers

Saul Leiter

Book reviews, Photographers

Book review

Recent comments by reader Giovanni Maggiora in response to a couple of journal entries here (1 and 2) saw recommendations for the color work of Saul Leiter, a photographer I had never heard of.


Paso Robles hot rod show, 2007. Canon 5D, 24-105.

So I hopped over to Amazon and a few days later Early Color by Leiter was in my hands. You will understand the level of trust I place in my readers when I admit to having blown $45 on this small volume, which is some sort of record given that I ordinarily only buy remaindered photography books. A remaindered Brassai is a cheap Brassai, after all.

Leiter’s work uses color sparingly in these pictures, taken during 1948-60; frequently, the colors are faded. The style is somewhere between Ralph Gibson (Leiter’s work being far more approachable) and Andre Kertesz, which is funny when you recall how much Kertesz denigrated color photography. As much as I (mostly) denigrate monochrome today. Stated differently, the style is street photography, but has nothing to do with the Decisive Moment school. People often feature in Leiter’s streetscapes, but as an architectural adjunct, seldom as a subject. As the text suggests, he would have done more color but couldn’t afford it. Boy, do I know how he felt.

I found the work wonderfully fresh and inspiring to look at, not least because my own style of street snap is very reminiscent of Leiter’s work. I say that unselfconsciously, having never heard of him until now. So while I can honestly report that Leiter’s work did not influence me one bit, the similarities are striking.

I make some disclosures below about the copyright aspects of reproducing Leiter’s work here; bottom line, I make no money from it and, hopefully, he will when you buy his book. Additionally, I have added an imprint on his pictures to make things clear. Then, compare his work with some of my color street snaps over the ages:


Madison Avenue, NYC 1982. Leica M3, 35mm Summaron. Kodachrome 64


Leiter’s version, 1960


Stanford University campus, 2002. Olympus C-5050 digital


Leiter’s version, 1956


Union Square, San Francisco, 1999. Leica M2, 90mm Asph Summicron, Kodak Gold 100.


Leiter’s version, 1954


Chinatown, San Francisco, 2000. Leica M2, 35mm Asph Summicron. Kodak Gold 100.


Leiter’s version, 1956


Eiffel Tower, 1977. Leica M3, 35mm Summaron. GAF Ansco 500


Leiter’s version, 1959

If this “street/color” genre appeals to you, do take a look at Leiter’s book. And thank you, Giovanni, for putting me on to Saul Leiter’s work.

Update:

Leiter passed away, aged 89, on November 26, 2013. The New Yorker has a thoughtful obituary here.

Thomas Eakins

Book reviews, Paintings, Photographers

Book review

Growing up as a lad in London I knew but three things about Philadelphia.

  • It’s the HQ of the Mob.
  • The great impressionist painter Mary Cassat was a native.
  • Photographer Thomas Eakins also hailed thence.

Well, I’m no longer sure about the first fact (I think the mob has now moved to Detroit where it runs GM), though Rocky did make out well in Philly.

I’m certain about the second, having adored Cassat since I first saw mention of her work in John Rewald’s definitive ‘A History of Impressionism’. Now famous, her work holds its own with the best. And while you are at it, check out Berthe Morisot’s canvases – another less known but outstanding painter of that age.

As for the third, I grew up knowing Eakins (1844-1916) as a photographer not as a painter. This book is one where various scholars pen chapters on aspects of Eakins’s work, so you never get bored with any one writer’s approach, and has an excellent chapter addressing how Eakins used photography as a tool in his painting. Indeed, Eakins was most secretive about his use of photographs to flesh out details in his paintings, in the face of a raging debate whether photography was art.

The book, gorgeously produced and illustrated, shows that this fine photographer was a superb painter. The idiom is uniquely American, strong, forthright, confidently realist, and his work is always memorable, as the 243 plates and 209 illustrations attest. Even if you don’t care to read the text, get the book for all those pictures.

Not cheap, it’s available from Amazon and is a splendid value.

Bob Carlos Clarke

Photographers

Never boring

When it comes to photography of exotic women, when America gave us the crass, crude and vulgar German, Helmut Newton, England blessed the photography world with Bob Carlos Clarke, who died by his own hand and was buried a year ago yesterday in one of my favorite haunts, Brompton Cemetery.

Clarke never saw a woman, it seems, he did not like, though towards the end disillusionment with his profession had set in:

After 30 years as a photographer I can say this
business has got harder, more callous, less open and much
more competitive. In the 1960s, photographers ranked just
behind rock stars in terms of image. Now they’re way down
the list, behind brawling footballers and provincial DJs.

As the UK’s Photography magazine printed my snap which went on to become the Photographer of the Year prizewinner in 1974, I always remember that the issue where I was published also had an article on Clarke’s photography, my first intoduction to his work.

Here’s a snap from Brompton Cemetery I took in the early ’70s which, it seems, is appropriately dedicated to his memory.


RIP BCC. Brompton Cemetery. Leica M3, 90mm Elmar, TriX

Beating the system

Photographers

Here’s someone who got it right

From yesterday’s Wall Street Journal article on photographer Jeff Wall:

Now while I wish Mr. Wall the best of good fortune in selling his snaps for $1mm a pop, maybe you should read this for a reality check while you’re at it.

And while I remember, you can get my framed 22″ x 28″ prints for quite a bit less. Though I do like his fluorescent tube touch, I must say. If you really want those, let’s talk. Limited edition? No problem.

Annie Leibovitz

Photographers

Finally, she does it right.

I have avoided reference to Annie Leibovitz’s photography in this journal, finding her work so over the top and in such poor taste that the less said the better. She is very much of the “put a famous face in a ridiculous situation and fame and fortune follows” school. That doesn’t make her work good photography.

So it give me considerable pleasure to relate that the annual VF Hollywood Issue (March) has a 33 page film noir portfolio of her latest work which is an absolute cracker.

As I mentioned before do not buy this magazine for its editorial views unless you are one of those poor, foolish conspiracy theorists who believes the administration is responsible for all the ills of the world while solely interested in enriching itself. No, you are not going to find rational, objective political analysis anywhere near the pages of Vanity Fair – the content is by loonies for losers.

But you will find cutting edge photography which inspires and teaches – not a bad reason to subscribe.

Rush out and get the March issue and you will see some great photography by Leibovitz, meticulously directed and with lots and lots of top notch actors posing in the pictures – the likes of Amy Adams, Ben Affleck, Jessica Alba, Pedro Almodóvar, Alec Baldwin, Adam Beach, Jessica Biel, Abigail Breslin, Jennifer Connelly, Penélope Cruz, Judi Dench, Robert De Niro, Robert Downey Jr., Kirsten Dunst, Aaron Eckhart, James Franco, Djimon Hounsou, Jennifer Hudson, Anjelica Huston, Rinko Kikuchi, Diane Lane, Derek Luke, Tobey Maguire, James McAvoy, Helen Mirren, Julianne Moore, Jack Nicholson, Bill Nighy, Ed Norton, Peter O’Toole, Sylvester Stallone, Sharon Stone, Kerry Washington, Naomi Watts, Forest Whitaker, Bruce Willis, Patrick Wilson, Kate Winslet and Evan Rachel Wood.

Quite a list, huh?