Learning to See

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Re: Learning to See

Post by Macrology » Thu Dec 12, 2019 1:52 am

Image

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Michael Christopher Brown. Congo. Goma. 2012.

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". . . A friend mine, who was there and whose house was also destroyed, had a childhood dream to be a pilot. But his parents were too poor and all the schools were expensive, so he could not hold onto that dream. He forgot about it, but then on that day, when we needed to move the plane, he told me to help him inside so he might steer it! We all pushed the plane as my friend waved his arm out the window, in the cockpit. We then climbed in the plane and saw the lava flowing down the volcano and into town."

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Re: Learning to See

Post by Macrology » Fri Dec 13, 2019 4:21 am

Image

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Carol Jerrems. Peggy Selinski. 1968.

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More of her work

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Re: Learning to See

Post by Macrology » Sat Dec 14, 2019 4:21 am

Image

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Walker Evans. 155 Studies of Railroad Car Insignias, for Fortune article Before They Disappear. 1956.

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[Click image for full size]

An essay on Evans at the Met website.

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Re: Learning to See

Post by Macrology » Sun Dec 15, 2019 11:06 pm

Image

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Walker Evans. Back Porch of Balconied House. Mobile, Alabama. 1934–35.

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More of his work

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Re: Learning to See

Post by Macrology » Tue Dec 17, 2019 5:33 am

Image

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Walker Evans. Chrysler Building under construction. New York. 1929.

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The Exacting Eye of Walker Evans

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Re: Learning to See

Post by Macrology » Wed Dec 18, 2019 7:56 pm

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Walker Evans. Citizen in Downtown Havana. 1933.

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Evans at the Farm Security Administration

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Re: Learning to See

Post by Macrology » Sat Dec 21, 2019 10:57 pm

Image

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Walker Evans. Citizen in Downtown Havana Detail. 1933.

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A different framing of the previous shot.

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Re: Learning to See

Post by Macrology » Mon Dec 23, 2019 11:02 pm

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Walker Evans. Salon, West Virginia. 1935.

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How Walker Evans Changed the Way We See America

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Re: Learning to See

Post by Macrology » Fri Dec 27, 2019 1:36 am

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Walker Evans. Torn Poster. Truro, Massachusetts. 1930.

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Re: Learning to See

Post by Macrology » Sat Dec 28, 2019 3:40 am

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Walker Evans. Girl In French Quarter. New Orleans. February – March 1935.

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Walker Evans in New Orleans

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Re: Learning to See

Post by Macrology » Sat Dec 28, 2019 11:12 pm

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Walker Evans. Two women. French Quarter. New Orleans. February – March 1935.

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64 Parishes on Walker Evans in Louisiana

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Re: Learning to See

Post by Macrology » Sun Dec 29, 2019 11:37 pm

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Andrew McConnell. Kinshasa. Democratic Republic of the Congo. 2010.

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My Best Shot

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Re: Learning to See

Post by Macrology » Tue Dec 31, 2019 4:54 am

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Theodore Lilienthal. St. Charles Hotel. New Orleans. 1867.

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One of the first really extravagant hotels in the US. This is the second iteration of three; the first two burned down, the third was eventually demolished.

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Re: Learning to See

Post by Macrology » Thu Jan 02, 2020 1:23 am

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Joel Sternfeld. 9th Street. New York City. 1974.

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His Website

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Re: Learning to See

Post by Macrology » Fri Jan 03, 2020 1:54 am

Image

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Joel Sternfeld. A Young Man Gathering Shopping Carts. Huntington, New York. July. 1993.

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Sternfeld's pictures of the High Line in NYC before its renovation

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Re: Learning to See

Post by Macrology » Sat Jan 04, 2020 12:25 am

Image

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Joel Sternfeld. After A Flash Flood. Rancho Mirage. California. 1979.

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An article on Sternfeld

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Re: Learning to See

Post by Macrology » Sat Jan 04, 2020 11:08 pm

Image

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Joel Sternfeld. McLean, Virginia. December 1978.

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Do Not Trust This Joel Sternfeld Photograph

Americana in Focus

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Re: Learning to See

Post by Macrology » Mon Jan 06, 2020 2:12 am

Image

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Joel Sternfeld. Exhausted Renegade Elephant. Woodland. Washington. June. 1979.

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Joel Sternfeld's work - especially his American Prospects series - reminds me of a lot of Jeff Wall's complex, wide format compositions, but with one crucial difference: Sternfeld's work is not staged.

On Sternfeld's American Prospects (with many more high quality photos from the series)

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Re: Learning to See

Post by Macrology » Thu Jan 09, 2020 3:41 am

Image

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Frank Relle. Choctaw.

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[Click image for full size.]

His Website

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Re: Learning to See

Post by Macrology » Fri Jan 10, 2020 1:49 am

Image

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Frank Relle. Clouet.

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His Twitter

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Re: Learning to See

Post by Macrology » Sat Jan 11, 2020 3:41 am

Image

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Frank Relle. Dempsey.

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His Instagram

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Re: Learning to See

Post by Macrology » Sun Jan 12, 2020 11:40 pm

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Frank Relle. Egania.

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Pictured here, one of the Doullut Steamboat Houses, a pair of architectural oddities in the Lower 9th Ward built to resemble 19th century steamboats.

A brief interview with an architect on the appeal of the homes and their history.

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Re: Learning to See

Post by Macrology » Tue Jan 14, 2020 2:03 am

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Frank Relle. Gouffre.

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NYT's Lens on Relle

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Re: Learning to See

Post by Stu » Tue Jan 14, 2020 7:24 am

Oooh...
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Re: Learning to See

Post by Macrology » Wed Jan 15, 2020 1:42 am

Image

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Frank Relle. Kerlerec.

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A brief interview with Relle at WWNO

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Re: Learning to See

Post by Macrology » Wed Jan 15, 2020 11:19 pm

Image

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Frank Relle. Lafayette Cemetery.

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I give tours in the cemetery (or did, until the city closed it down for repairs a few months ago).

Some information about it.

The group I work for has even more information about it.

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Re: Learning to See

Post by Macrology » Thu Jan 16, 2020 11:36 pm

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Frank Relle. Portage.

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Frank Relle at My Louisiana Muse

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Re: Learning to See

Post by Popcorn Reviews » Fri Jan 17, 2020 12:00 am

I love all the colors.
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Re: Learning to See

Post by Macrology » Sat Jan 18, 2020 3:45 am

Image

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Frank Relle. Soileau.

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Re: Learning to See

Post by Stu » Sat Jan 18, 2020 7:34 am

Haunting.
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Re: Learning to See

Post by Macrology » Sun Jan 19, 2020 12:01 am

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Frank Relle. Solomon.

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Re: Learning to See

Post by Macrology » Mon Jan 20, 2020 12:08 am

Image

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Frank Relle. Sorrel.

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Re: Learning to See

Post by Macrology » Tue Jan 21, 2020 4:39 am

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Frank Relle. Telemachus.

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His Gallery Site

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Re: Learning to See

Post by Macrology » Wed Jan 22, 2020 2:10 am

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Watabe Yukichi. A Criminal Investigation - Photobook Spread. 1958.

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During a murder investigation in 1958, photographer Watabe Yukichi was hired to follow investigators as they attempted to track down the murderer. These photographs -- discovered decades later -- make for a fascinating mix of documentary realism and a Kurosawa-esque cinematic sensibility. Nothing in the series is staged, but Yukichi's techniques are inflected with a dramatic dynamism and the visual influence of film noir. The result (collected in one of my favorite photography books ever) is a peculiar distillation of the investigative process: stripped of everything but some very minimal context, the pictures feel at once highly specific -- a time capsule of the backstreets of Tokyo in the 50s -- and oddly archetypal.

This article touches upon what I love so much about this series and includes several more spreads from the book.

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Re: Learning to See

Post by Macrology » Wed Jan 22, 2020 10:13 pm

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Watabe Yukichi. A Criminal Investigation - Photobook Spread. 1958.

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From the opening of the book:
On January 13th 1958 a nose, two fingertips and a penis were discovered in an oil vat near Sembako Lake (Ibaraki Prefecture). The following day the police discovered the body of a man on the other side of the lake who had been grotesquely disfigured. Several fingers had been cut off and the entire body had been badly burned with acid, clearly in an attempt to make identification impossible. Nevertheless, the subsequent autopsy established the identity of the corpse as Sato Tadashi, 30 years old, a day-labourer from Sumida-ku, Tokyo. The date of the murder was fixed on January 12th and the cause of death was strangulation. As Sato had been a Tokyo resident, a special investigation unit was formed in collaboration with the Tokyo Metropolitan Police.
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Re: Learning to See

Post by Macrology » Fri Jan 24, 2020 3:38 am

Image

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Watabe Yukichi. A Criminal Investigation. 1958.

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More shots from the book

The epilogue that concludes the book:
In July 1958 a special nationwide police campaign was launched, the first of its kind, during which data of 21 unsolved murder cases were compared by all law-enforcement agencies. This investigation led to the identification of a hitherto unidentified corpse, which had been found in Kurashiki (Okayama Prefecture) in February 1956. The body was that of Miura Shofu. Curiously enough, Miura was still registered as being alive and it was at this point that the police understood that they were dealing with a case of identity-theft. Miura turned out to be Onishi Katsumi, who was arrested on July 16th 1958 and confessed his crimes. He had in fact committed four murders: on June 1st 1955 he had poisoned his adoptive parents Onishi Fukumatsu and his wife Kuma at their home in Shimonoseki (Yamaguchi Prefecture) using cyanide. He then fled to Hokkaido where he worked on a food-stall under a false name before making his way to Tokyo. Here he befriended Miura Shofu, persuaded him to sell him his identity card for 40,000 Yen and murdered him in order to adopt Miura's identity. He married, and got a job in a cardboard-box factory. The subsequent murder of Sato Tadashi was an attempt to adopt yet another identity. Onishi Katsumi was found guilty of his crimes on December 23rd 1959. On March 30th 1961 the death sentence was confirmed and Onishi was executed in 1965.
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Re: Learning to See

Post by Macrology » Sun Jan 26, 2020 3:24 am

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Saul Leiter. Canopy. 1958.

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The first true master of color photography, although the extent of his achievement went unrecognized until about 15 years ago.

The Guardian on Leiter

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Re: Learning to See

Post by Macrology » Sun Jan 26, 2020 11:58 pm

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Saul Leiter. From the El. 1955.

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Another Guardian piece on Leiter

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Re: Learning to See

Post by Macrology » Tue Jan 28, 2020 3:56 am

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Saul Leiter. Haircut. 1956.

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A Casual Conversation with Saul Leiter

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Re: Learning to See

Post by Macrology » Wed Jan 29, 2020 12:08 am

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Saul Leiter. Details unknown.

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Leiter painted in addition to taking photographs, and you can see pages from one of his sketchbooks here.

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Re: Learning to See

Post by Macrology » Fri Jan 31, 2020 4:35 am

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Saul Leiter. New York. 1950.

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Saul Leiter at 1000 Words

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Re: Learning to See

Post by Macrology » Mon Feb 03, 2020 12:23 am

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Saul Leiter. Purple Umbrella. 1950s.

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With Saul Leiter in the East Village

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Re: Learning to See

Post by Macrology » Tue Feb 04, 2020 6:32 am

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Saul Leiter. Reflection. 1958.

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From the introduction to a Retrospective monograph on Leiter, by Ingo Taubhorn:
Leiter's dedication to the experimental status of early color photography and his concern with its in part chance and unforeseeable results was truly born of the spirit of the artistic avant-garde. Cartier-Bresson complained in 1952 that the color emulsions were too sluggish for short exposures and thus tended to prompt essentially static shots and little depth of field. Saul Leiter made aesthetic use precisely of this anti-Cartier-Bresson effect of early color film to realize his vision of painterly color photography: the lack of focus in the details, the blurring of motion and the reduction in the depth of field, the compensation for or conscious elimination of the light required, and the substitution for the complexity of the world by views through a semi-real, semi-abstract image of urban space. This is also the reason why Leiter's images seem, when compared with the more strident and dramatic black-and-white photography of a Robert Frank or William Klein, more intimate, seemingly static interiors and still lifes that apparently only scratch the surface of urban life.
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Re: Learning to See

Post by Macrology » Thu Feb 06, 2020 1:11 am

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Saul Leiter. Snow. 1960.

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A New Yorker article on Saul Leiter's works where he painted over photographic nudes.

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Re: Learning to See

Post by Macrology » Mon Feb 10, 2020 4:25 am

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Saul Leiter. Soames Bantry, 'Nova’. 1960.

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Saul Leiter, on his lifelong partner Soames Bantry:
Quite often I would sit in Soames' room under the skylight, with a cup of coffee or wine in hand, and watch her paint. I very much admired her methods, which were very different from mine, much more controlled, much more patient. Her drawings and paintings of shoes are some of the sweetest and quirkiest in the world of art. I take great pleasure in the idea that her work will be shown. She died in 2002. I am sometimes annoyed with her because she is no longer here.
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Re: Learning to See

Post by Macrology » Tue Feb 11, 2020 3:57 am

Image

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Saul Leiter. Street Scene. 1957.

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Ulrich Rüter, in his essay Undiscovered Seeing:
Leiter's photographs convey an extremely complex, reciprocal relationship between the people on the street, the architecture surrounding them, and the influence of weather phenomena. He shows a world of surfaces, matte ones that shimmer or ones that gleam, ones repeated in reflections or broken up in countless reflecting surfaces. Leiter's pictures often contain lattice windows or window grilles that impose a grid on the viewer's field of vision, divide the image up into sections, and actually perform an important function: "However unruly they may at first appear, things are given a new logic by the rhythms and accords created for them within the frames."
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Re: Learning to See

Post by Macrology » Tue Feb 11, 2020 7:22 pm

Image

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Saul Leiter. Taxi. 1956.

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From what they dubbed "Profundities from a Warped Mind," a series of Leiter quotations collected by Adam Harrison Levy:
My aim in life is to pay the light bill.
After the age of seventy-five you should not be photographed. You should be painted by Rembrandt.
I have a great respect for people who do nothing.
The secret of happiness is for nothing to happen.
The older I get, the less I know. Eventually I will know nothing.
No one knows what is what until you find out what is what. And when you find out what is what, it is too late.
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Re: Learning to See

Post by Macrology » Thu Feb 13, 2020 12:49 am

Image

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Saul Leiter. Taxi. New York. 1957.

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From Rolf Nobel's essay The Street as Stage:
Saul Leiter is the painter among the street photographers. He manages to find a visual concomitant to the pulse of the city without relying on the usual extreme proximity to the actors. His images tend to rely on observations from a distance. When Saul Leiter photographs street life, he then caresses the world with his camera and lens the way a painter strokes the canvas with a brush.
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Re: Learning to See

Post by Macrology » Mon Feb 17, 2020 5:24 am

Image

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Chris Johns. A shadow of a man holding a bicycle is cast on a wall near the Zambezi River. 1996.

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Photographer and former editor of National Geographic.

An interview with Johns

This photograph brings to mind the poetics of certain filmmakers, like Andrei Tarkovsky or Ivan Passer or Ermanno Olmi, who deal with the metaphysics of the quotidian.

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Re: Learning to See

Post by Macrology » Wed Feb 19, 2020 4:59 am

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Josef Koudelka. France. Brittany. 1973.

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A Magnum Photographer

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