Posts by: Jonathan Blaustein

This Week In Photography Books: Laurent Chardon

- - Photography Books

by Jonathan Blaustein

They’ve had no rain up in Washington, which you’ve probably heard. Even less snow last Winter. I just saw a headline in the NYT that the Sierra snowpack is at its lowest level in 500 years.

That’s about when Cortes conquered Mexico. The last time there was this little snow, Italians had never eaten a tomato. (Crazy times, this Climate Change.)

Though Seattle is famously pastoral, I recently dined with some friends who live there, and they still flee the city on Summer weekends. They head to “real” nature for the peace and quiet, and will go to great lengths to get there.

Apparently, Josh, Katie and the kids wait 2 hours in a queue to get their car on a ferry. They ride the boat, and 2 more hours to disembark, all before they drive to their preferred camping locale. (5 hours in total, each way.) That’s how badly some people want to escape the urban jungle, and this in a beautiful city surrounded by water and mountains.

This need to be elsewhere is as strong as it is strange. Why can’t people enjoy what they have? Because baking concrete and ceaseless noise will mess with your brain.

Yes, today I’m wondering about the relationship between cities and their immediate environs, after looking at Laurent Chardon’s new book “Dédale,” recently published by Poursuite.

The banlieues, or suburbs, that surround Paris have been in the news quite a bit, of late. They’re getting a lot of publicity as hotbeds of Islamic unrest and Anti-Semitism, but also for the riots that seem to happen every couple of years. (Burning cars, that sort of thing.)

Why has it been thus? Because those neighborhoods are apparently ghettos for the immigrants, and people of color, that La France has been slow to adopt. (Much less embrace.) As we’ve learned in America, segregating poverty does not make it disappear. Averting your gaze affects your gaze, but not what you choose to ignore.

I’m no expert on the banlieues, as I haven’t been to Paris in 15 years, and even then, it was only for a night. What I know of the situation comes from what I’ve read, mostly. And now, from what I’ve seen.

This book, like some of my favorites, doesn’t give you anything. You have to sort it out for yourself, and even then, supposition is required. (That’s my way of saying the following sentiments may be incorrect, relative to the artist’s intentions.)

Open it up, and save for the title, all we get are photos. Bleak, graffiti-covered industrial and abandoned structures. Mostly at night. These are to Brassaï’s glowing, Romantic night time Parisian pictures as Johnny Manziel is to Tom Brady.

The cover gives us a map of a Metropolis, and the architecture and few bits of language in the initial photos allow me to guess we’re in the Paris orbit. (Which the end notes confirm.) The stark landscape makes me believe we’re on the outskirts, where the poverty lives. (No gleaming Gothic cathedrals in this one…)

Then, surprisingly, I notice that a page feels thicker than the others. I play around a bit and open it up, finding two double spreads of portraits. Grabbed photos of pedestrians at night, lit up by what feels like the glow of the city center.

Then back to the gloom. The process repeats itself three or four more times. Always the same: up close, stolen street portraits, the kind that require copious light and unsuspicious people. You’d never get pictures like this, lurking somewhere unpopulated, shoving your camera in the grill of scared strangers.

To me, it’s a structural metaphor. The shiny center, encircled by a sad, weary infrastructure. The breezy heart of the city, with danger pervading the darkened edges.

This is just my read, of course, because the book gives nothing away. The end notes, in French, tell us the artist dedicates his book to his parents, and that the pictures were made in Paris and its surroundings, in 2003, 07, and 2010-13.

That’s it.

The use of black and white is perfect here. Not only does it reference Brassaï, but it gives a genuine menace to these pictures. It makes you wonder how safe Mr. Chardon was, while he snapped away.

They make the outskirts look bad, but not the banlieue residents, as there are none to be seen in the lightless places. So we begin to wonder: who would prosper in an environment so ugly and decrepit? How can people be expected to succeed, on the fringes of Paris, when their world is as bleak as Paris is beautiful?

I genuinely don’t know. Do you?

PS: This column has gone on for so long that when I tried to save my document as “Chardon,” I learned the title was taken. Apparently, I reviewed another of his books back in 2013. Not sure what that says about my memory, but I’ll have to re-read it, to see what I thought of his previous effort.

Bottom Line: Chilling photos on the outskirts of Paris

To Purchase “Dédale” Visit Photo-Eye

IMG_0924

IMG_0925

IMG_0926

IMG_0927

IMG_0928

IMG_0929

IMG_0930

IMG_0931

IMG_0932

IMG_0933

IMG_0934

IMG_0935

IMG_0936

IMG_0937

IMG_0938

IMG_0941

IMG_0942

IMG_0943

IMG_0944

IMG_0945

This Week In Photography Books: Mike Mandel & Chantel Zakari

- - Photography Books

by Jonathan Blaustein

I’ve got Boston on the brain at the moment.
Why, you ask?

I caught “The Departed” on cable over the holiday weekend. It’s one of those movies that’s better the second time you see it, though I don’t know why that is. Matt Damon, God bless him, rocks the thick Southie accent like the pro that he is.

Gooh Sawx!

Jack Nicholson, however, doesn’t even bother trying. One out of every 25 words has a half-accent, but that’s about it. Still, given his massive JACK charisma, I really didn’t mind. I always thought this was a minor Scorsese film, and it may well be. But when Martin Sheen, Alec Baldwin, Damon, Nicholson, Vera Farmiga and Leonardo DiCaprio are giving excellent performances, I’d be a fool to dismiss it.

Then, the next day, I was leafing through a copy of The New Yorker, and began to read a piece about the Salem witch trials, from the late 17th Century. It’s an engrossing article, as they always are, but I was stopped cold by a period map, showing the entirety of the Massachusetts Bay Colony.

The British names: Dorchester, Gloucester. The spots embedded in American history: Salem, Concord, Cambridge.

At one point, it was “The Frontier.” Hard to believe nowadays, as highways tie those places together tighter than a courtesan’s corset.

History is always less-popular than entertainment, but in this case, the strands wrapped around each other, like a helix, and encouraged me to speculate. Why did all those Pilgrims emigrate, given the almost psychotic odds stacked against them?

Because they wanted a better life.

Were the current occupants of the Continent happy to see them? No, they were not. (Understandable, given the subsequent Genocide.)

It seems that’s always the case with immigrants, though. No matter how pressing their case, locals wish the newcomers would just keep moving along. How else to explain the crisis enveloping Europe at the moment?

Could any group of people have a more valid reason for fleeing than the Syrians? These poor folks are literally stuck between Bashar Al-Assad, and ISIS. The former used to be the worst person in the world, but somehow, ISIS managed to top it. Those that stay behind face the tragic risk of a painful death.

But many Europeans, fearful for their jobs and economic security, would just as soon see people beheaded. It’s mind-boggling, but there you are. People have no choice but to leave, yet they’re unwelcome where they’re headed.

Frankly, it makes me think of the Tsarnaev brothers. Remember them? How were they treated in Massachusetts, I wonder? I wrote a piece in 2013, admitting my guilt at feeling a touch of empathy for young Dzhokhar. He seemed like a dumb kid caught up in a horrific world of someone else’s making.

Were these immigrants embraced by their new community, or shunned? Does it even matter? Nothing can excuse the mayhem and misery they unleashed, but still. I’d love to know how it all went down.

That’s impossible, I’m afraid. But what of the aftermath? The shutdown of Boston? The massive manhunt? What must that have looked like?

Finally, a question I can answer without resorting to another question. I need not imagine the manhunt that ultimately found Dzhokhar, as I’ve just finished looking at “Lockdown Archive,” a new book by Mike Mandel & Chantel Zakari, recently put out by 18 publications. (Though apparently printed by Blurb.)

We always make our way back to book, don’t we?

While I’m unfamiliar with Chantal Zakari, I know Mike Mandel from his famous Photo World Baseball card series, which I wrote about in a review of Pier 24 a few years back, and his seminal project re-contextualizing found imagery with his partner, the late Larry Sultan. (That was one long sentence. Apologies.)

That knowledge helped me appreciate this fascinating and genuinely impressive book, assuming images were found, not taken. The volume is broken down into small sections, all of which purport to show what was happening in Watertown, MA, on April 19, 2013, the date of the big manhunt.

As the premise of a lockdown means the artists couldn’t have been out and about, making images, I guessed that the pictures within were taken from the Internet, TV, and other media sources. The end notes confirm as much.

Which means that no living soul saw, with his or her own eyes, the entirety of the situation as we see in this book. Gray teams, black teams, swat teams, helicopters. It’s all here.

Evacuations. Press conferences. Rolling Hummers. Sad children. An African-American man, in a classy hat, with his hands up at gunpoint. Bullet holes and screened-in-porches and Red Sox gear.

Wow.

The end notes also tell us that so many law enforcement officers showed up to help, uninvited, that the entire endeavor was a logistical nightmare. It was almost like a Wild West posse formed, just to make sure that a bleeding 19 year old boy had nowhere to hide.

Ironically, it was only after the lockdown was lifted that a resident was able to go outside, notice his boat had been invaded, and call in the big guns.

We all know what happened next.

My favorite part of this job is looking at books that show me things I’ve never seen before. I drop that standard on you all the time, because the more I see, the harder it is to accomplish the goal.

This week, we have something that none of us has seen before. So I trust you’ll be satisfied. (At least I hope so.)

Bottom Line: Innovative book, featuring collected images reconstructing a famous manhunt

To Purchase “Lockdown Archive” Visit Photo-Eye

IMG_0907

IMG_0908

IMG_0909

IMG_0910

IMG_0911

IMG_0912

IMG_0913

IMG_0914

IMG_0915

IMG_0916

IMG_0917

IMG_0918

IMG_0919

IMG_0920

IMG_0921

IMG_0922

IMG_0923

This Week In Photography Books: Michael Lange

by Jonathan Blaustein

Sometimes, I can’t believe I live in the high desert. Not given where I come from. Back in New Jersey, the humidity was stronger than a body builder’s underarm stench. Water hung in the air, always ready to cling to the first thing that passed by.

This Summer has had its share of rain, but still, most days, the sun beats down on the Northern New Mexico landscape, daring people to test its fiery glow. Within a week or so of the last rain, our pasture grass will turn pea green, then tan, then harsh brown, if not irrigated properly.

The dry even invades your body, if you’re not looking. The back of my feet tend to crack, like sorry horse hooves, if I don’t slather them with moisturizing cream. (Cue the vision of me buying some expensive hand cream at Kiehl’s, in the Cherry Creek Mall, not-so-subtly pretending it’s not really for my feet. Awkward.)

Needless to say, by now, early September, I’m ready for Fall; for a release from the heat. I dream of moisture. Of cool, wet, boggy places, that bear no resemblance to my own world. I close my eyes, and mentally evoke some misty rivers. Maybe in Northern Europe? (Avoid mention of human migrant crisis here.)

Sometimes, when you want to leave your mind, and your physical locale, there’s an easy solution. Open up a photo book. Flip through the pages. Imagine you’re somewhere else.

In this case, I’m not sure exactly where I’m going, when I look at Michael Lange’s new book, “fluss,” recently released by Hatje Cantz. The project can also be seen in exhibition form at photo-eye in Santa Fe, our book benefactor, so if you’re in town, be sure to check it out.

This book is dreamy, alright. Just perfect to take me along on this moody, morning ride, away from the unceasing sun that fostered my musings. The book contains few words, but does open up with a little word association to give it context, beginning with the title: fluss, flux, flow, fluency, current, stream, river.

Is that enough to get the gist? In this case, I’d say yes. Later, we get a poem, translated from German. So that might allow us to guess the setting, if we don’t turn to trusty Google to provide the answers.

These are very visual photographs. What you see is what you get. But the color palette, and murky movement, all those purple grays… I’m transported, all right. It almost makes me want to wrap a blanket around me, or put on a wool sweater, to ward off the bone chill.

There are water lilies here, so of course I think of Monet. But his palette had a brightness that is lacking here. These pictures aren’t creepy, but they have just the slightest hint of menace, which makes them more interesting. (If not overtly sublime, they’re well beyond the realm of simply pretty.)

This book is like a temporary vacation, for me, from the end of Summer. As I’ve been known to complain from time to time, it won’t be long before I’m whining about Winter, and begging for some supplementary sun. But until that day comes… we’ll take what we can get.

Bottom Line: Lovely, marshy, wet photos of lakes and rivers

To Purchase “Fluss” Visit Photo-Eye

IMG_0888

IMG_0889

IMG_0890

IMG_0891

IMG_0892

IMG_0893

IMG_0894

IMG_0895

IMG_0896

IMG_0897

IMG_0898

IMG_0899

IMG_0900

IMG_0901

IMG_0902

IMG_0903

IMG_0904

IMG_0905

IMG_0906

This Week In Photography Books: Aapo Huhta

by Jonathan Blaustein

I just had some company in town. The official end of Summer. One last big dinner party to cook for, as my Aunt and Uncle came in from Jersey to meet my daughter, for her third birthday. Pasta and eggplant and cupcakes. (Oh My!)

It felt like an obligation, due to my general overtired-orneriness, rather than the pleasure I’d have normally taken it to be. My Uncle even commented that I didn’t look very happy, for a guy with lots of good things going on.

It was an odd conversation, because it was obviously true, but I knew I’d be a lot happier if I were relaxing all weekend, rather than chasing my kids and nephews around. Not a kind thing to say… so I kept it to myself.

Sometimes, there are things we ought not discuss. Either because they’re hurtful, or because they lead down dark, shadowy paths. Take politics. It’s a subject my Uncle and I avoid, as he’s a Fox-News-Addicted Republican, and I’m not.

We learned years ago, (when I was younger, and more easily riled,) that if we started talking politics, within 5 minutes, I’d be screaming and ranting like a frightened Drivers Ed instructor. (No, Jimmy, press the brake. The brake!)

Now that I’m past 40, and have a slightly better sense of how the world works, I know not to push those buttons. I’ve learned his opinions, and I choose not to pointlessly inflame his passion. (Back away from the bull, Timmy. Back away!) I love my Uncle despite his taste; not because of it.

As for my taste, I’ve got a nearly 4 year track record of writing about books I find cool and/or interesting. Is there anyone out there paying attention to my likes and dislikes? Is there a style that people expect I’ll praise?

I’m guessing yes. I suspect some astute readers have me pegged: if it’s weird, odd, discomfiting, and razor sharp, I bet Blaustein will have a field day. He digs the artsy stuff.

Is that right?

I’m starting to wonder, as Kehrer Verlag just sent me a book, unannounced. That rarely happens, where a publisher will drop something on me without checking in first. Even the artists will often feel me out, before spending the resources to get a book into my hands.

I opened up the packaging, swiped away the plastic wrap, and found a book called “Block,” by a Scandanavian-sounding artist named Aapo Huhta. (Turns out he’s Finnish.)

This seemed to be a book for me, as it opened up without any explication, and thrust me into a situation I needed to suss out. But right away, weird, odd, discomfiting pictures, razor sharp. (Either hi-res digital, or some good scans off of a medium or large format camera. Hard to tell, these days…)

It says “Block,” and then we’re in an urban environment that quickly resolves itself as Lower Manhattan. Is it one block? In the Financial District? I don’t know, but that’s the general read. These would be normal street photos, taken by a different photographer, but instead, we have that “slightly-Haruki-Murakami-parallel-universe” vibe that I love so much.

Why do some photographers have the ability to see paranormal energy in a mattress leaning against a building wall? Or in the candy-pink of some insulation melting out of a joint, sealing up a makeshift door to a construction site?

Who would make a photo implying a Buddhist Monk was being fellated by a faceless stranger, sitting on some steps outside a building? (This Guy, that’s who.) Again and again we see banker types, disappearing into shadow, which makes me think of Robert Frank’s amazing photos of British Bankers, made before he came to America.

And there are some similarities to Paul Graham’s book, “The Present,” which I reviewed a few years ago. (Image repetition, compositional style.) So I’m not suggesting that this work is radical, rather that it takes a certain kind of artist to find such weird moments, surrounded by normality.

With respect to context, there is only a small short story, by Jenny Hollowell, at the end. It doesn’t do much contextualizing, though it is a poignant read. (A mini-version of the super-sad opening of the Pixar movie “Up”.) Then, the thank you notes, and the first name listed was my former graduate school professor Allen Frame, whom I’ve mentioned here before. (Does that explain everything about where my preference for the awkward comes from?)

Regardless, we’re back on schedule. A book a week, each week. What will I write about next week? I don’t know. But I accept there are folks out there parsing the subtext, and bravo to Kehrer Verlag for getting it right, in this last week of August, 2015.

http://www.aapohuhta.com/BLOCK

IMG_0844

IMG_0845

IMG_0846

IMG_0847

IMG_0848

IMG_0849

IMG_0850

IMG_0851

IMG_0852

IMG_0853

IMG_0854

IMG_0855

IMG_0856

IMG_0857

IMG_0858

IMG_0859

IMG_0860

IMG_0861

IMG_0862

IMG_0863

Work from Review Santa Fe 2015, Part 3

I’ve got my hands full at the moment.

In the last two weeks, I’ve begun a new job as the Chair of the Fine Arts Department at UNM-Taos, had a articles published online by APE, the NYT and The New Yorker, edited a new photo series of my own, put together the newest issue of Photographers Quarterly, and got my kids ready for a new school year.

Hell, just writing that sentence gave me a headache, much less living it.

Why am I complaining? As always, there’s a reason. In this case, it’s because I promised a book review this week. Back to normal, I assured you.

Alas…

I hate to be a liar, but in the mad rush to get everything done, I actually forgot to include an artist in last week’s article. Not something I’ve ever done before, but hopefully, given that my current to-do list is as ornery as a drunk barn owl, I’m hoping you’ll forgive me.

And of all the people to forget, I actually omitted the most memorable. I met Gloriann Liu at Review Santa Fe a couple of years ago. She showed me some pictures she’d made of Syrian refugees on the Turkish-Syrian border, as she’d spent significant time in the region, determined to see for herself what was happening.

I was floored for several reasons. To begin with, Ms. Liu had an Asian surname, but was a middle-aged, relatively small, blonde-haired woman. That’s the kind of detail that will stick in your mind. (It’s her husband’s name. Easy answer to that one.)

She also told me that she funds her travel herself. It’s art, for her, as she is so heartbroken and angry at the injustice that exists in the Middle East and Central Asia. As such, she spent much of her own savings making trips over there, reporting, working almost as a one-woman NGO.

And she shook with anger as she discussed what was happening to poor and vulnerable people. Literally, she was seething; physically manifesting her rage at a violent and unpredictable world. I’d never met anyone quite like her.

Most people who set foot over there have grant funding, or work for a major media organization. They have institutional protection of some sort. Gloriann was doing this as a private citizen, an artist whose inner necessity put her squarely in harms way. INCREDIBLE!

Fast forward to RSF ’15, and I reviewed her work, officially. She showed me a portfolio of images she made of Zarghona, a former Afghan child bride, now older, and the family she supports. One son, Barialy, who was injured by rocket-fire during the Afghan Civil War, is featured prominently in the project.

He has to be carried around, and sometimes his mother hires a man to cart him in a wheelbarrow, so that he can accompany her as she begs for money. Shocking stuff.

The only rational explanation for how I forgot to show you these photographs is that I was overwhelmed with life. It happens. But we’re rectifying things by showing Gloriann’s portfolio today, all by itself. The pictures are strong, of course, but also a great reminder that while we sometimes get wrapped up in our own lives…there are people out there who would kill to have our First World Problems.

In early February of 2013 I met Zarghoma. The first time I saw her she was with Barialy, her son, begging in the center of downtown Kabul.  In the beginning she was very shy. Najibullah, my guide , Zarif, my driver, and I offered to take her home in old Kabul. It was extremely cold and had been snowing off and on since I arrived several weeks earlier. The car could only get to about a quarter of a mile from her home. Zarghoma had to carry Barialy all of the way through the slush and patches of ice and snow. Their home was small and very cold but had a very cozy atmosphere.

In early February of 2013 I met Zarghoma. The first time I saw her she was with Barialy, her son, begging in the center of downtown Kabul. In the beginning she was very shy. Najibullah, my guide , Zarif, my driver, and I offered to take her home in old Kabul. It was extremely cold and had been snowing off and on since I arrived several weeks earlier. The car could only get to about a quarter of a mile from her home. Zarghoma had to carry Barialy all of the way through the slush and patches of ice and snow. Their home was small and very cold but had a very cozy atmosphere.

Zarghoma, her son, daughter-in-law and their children having tea several days before their  home was ruined.

Zarghoma, her son, daughter-in-law and their children having tea several days before their home was ruined.

Kabul, Afghanistan. Zarghona is visiting her home for the first time since the roof had fallen during a heavy snow storm.

Kabul, Afghanistan. Zarghona is visiting her home for the first time since the roof had fallen during a heavy snow storm.

Kabul, Afghanistan. Zarghona and part of her family live in an apartment in Shah Shaid. On this day, they are visiting her son and daughter-in-law Carmela and other members of the extended family.

Kabul, Afghanistan. Zarghona and part of her family live in an apartment in Shah Shaid. On this day, they are visiting her son and daughter-in-law Carmela and other members of the extended family.

Kabul, Afghanistan. Barialy is now eighteen and becoming too heavy for his mother, Zarghona, to carry.

Kabul, Afghanistan. Barialy is now eighteen and becoming too heavy for his mother, Zarghona, to carry.

Kabul, Afghanistan.  A child bride at ten, Zarghona, now fifty, has a large extended family.

Kabul, Afghanistan. A child bride at ten, Zarghona, now fifty, has a large extended family.

Zarghona and Ghulam-Faroq, her 92 year old husband.

Zarghona and Ghulam-Faroq, her 92 year old husband.

Ghulam-Faroq's Bookstore

Ghulam-Faroq’s Bookstore

Zarghona took her son Barialy to a shrine in Kabul. Barialy was injured in The Civil War. There the ritual of “Doing Dam” was performed; verses are read from the Holy Koran and the touching with a knife to a sick or injured person is to take away the injury or illness.

Zarghona took her son Barialy to a shrine in Kabul. Barialy was injured in The Civil War. There the ritual of “Doing Dam” was performed; verses are read from the Holy Koran and the touching with a knife to a sick or injured person is to take away the injury or illness.

Kabul, Afghanistan. Zarghona and family go to the shrine to be healed and to pray.

Kabul, Afghanistan. Zarghona and family go to the shrine to be healed and to pray.

Barialy, injured in a rocket attack during The Civil War, often becomes angry and frustrated being confined in a semi paralyzed body.

Barialy, injured in a rocket attack during The Civil War, often becomes angry and frustrated being confined in a semi paralyzed body.

After a long hard and cold day Zarghona sits warming herself under blankets.

After a long hard and cold day Zarghona sits warming herself under blankets.

Zarghona's youngest daughter is now accepting suitors. This includes many visits and negotiations between the two couples before they can become engaged.

Zarghona’s youngest daughter is now accepting suitors. This includes many visits and negotiations between the two couples before they can become engaged.

Camilla, one of Zarghona's daughter-in-laws, Gulali, Malai, daughters and their children are together for a family gathering on Friday afternoon.

Camilla, one of Zarghona’s daughter-in-laws, Gulali, Malai, daughters and their children are together for a family gathering on Friday afternoon.

Fatima, Zarghona's youngest daughters helps care for Barialy.

Fatima, Zarghona’s youngest daughters helps care for Barialy.

Gh ullam Farooq, Zarghona's 93 year old husband, still loves caring for the children.

Gh ullam Farooq, Zarghona’s 93 year old husband, still loves caring for the children.

Barialy has be come to heavy for Zarghona to carry. She now hires someone with a wheel-barrel to help her transport him from place to place.

Barialy has be come to heavy for Zarghona to carry. She now hires someone with a wheel-barrel to help her transport him from place to place.

Zalmy, Zarghon's second son and Camila's husband is moving his family from a cold dark basement room to his brother-in-laws house. Zalmy and Camila had become indentured servants to a wealth man and his second wife. The conditions were deplorable. My guide, Najibullah made the arrangements for them to leave.

Zalmy, Zarghon’s second son and Camila’s husband is moving his family from a cold dark basement room to his brother-in-laws house. Zalmy and Camila had become indentured servants to a wealth man and his second wife. The conditions were deplorable. My guide, Najibullah made the arrangements for them to leave.

Camila and her two youngest children arrive at her brother's house which will be the family's new home.

Camila and her two youngest children arrive at her brother’s house which will be the family’s new home.

Liu_G-20

Zarghona and Gulali prepare diner for the family while her grandson prays.

Zarghona and Gulali prepare diner for the family while her grandson prays.

Zarghona visiting the location of where her home had collapsed. She found out that night that her husband and son had sold the property and had not told her. Now, with an aging husband of ninety-two, an invalid son, one young daughter,  and several grandchildren to support, she has no property and has become severely depressed.

Zarghona visiting the location of where her home had collapsed. She found out that night that her husband and son had sold the property and had not told her. Now, with an aging husband of ninety-two, an invalid son, one young daughter, and several grandchildren to support, she has no property and has become severely depressed.

Work From Review Santa Fe 2015 – Part 2

I never get drunk anymore. It’s true. I can’t even remember the last time I was woozy and boozy, swaying like bamboo in a disorienting world.

I know, I know. Just last week I was bragging about throwing back shots of whiskey in my car with Paccarik, but that was just a little tipple to prepare for the onslaught of chatter. I barely even get a buzz on at portfolio reviews, these days.

It’s not about the drinking per se, these reviews I’m always on about. The key is to have just enough alcohol to be extra social, but not so much that you can’t speak coherently about your work. (And definitely not so much that you make an ass out of yourself in front of some VIP.)

Is this all obvious to you? Am I once again preaching about things that don’t need to be said? I’m not sure.

But the social aspects of Review Santa Fe, and other events like it, are where the long-standing relationships are built. That’s the reason I always recommend people attend a good festival: you can make things happen that you wouldn’t have predicted.

Case in point: in last week’s article, I highlighted the work of Shane Rocheleau. I edited out a few comments I made about Shane being a massive Massachusetts meat-head, once the beer was flowing. He was hilarious, his humor infectious, but I needed to mind my word count.

The story I was planning to tell was how Shane organized a little print trade/after-party in a room in the Drury Hotel. As it was booked into room 145, they cheekily called it The Gallery 145. People flocked, after the last evening’s final event, and I was handed a beer before I even knew what was happening.

There was a board of directors in place, a set of rules, and each trade was documented with ironic flair. Unfortunately, the organizers were unaware the hotel was filled with families and older folks, so by leaving the door wide open, at midnight, they were begging for trouble.

I was there when the hotel cracked down, shutting the party tight within three and a half minutes. Everyone moved on to a more suitable location, on a nice balcony, and that was the last I heard of it. But clearly, a few people who’d never met each other before organized something cool, that benefited others, and showed people a good time to boot.

I checked back with Shane yesterday, so he could remind me of the room number, and he said the whole endeavor morphed into a collective, and a website. It’s right here, if you don’t believe me. The Gallery 145 is a thing, and the leaders: Shane, Will Douglas, Eric Pickersgill, the aforementioned Paccarik Orue, and Marcus DeSieno intend to re-stage print trades at upcoming portfolio reviews, including one in Japan at the end of August.

Then, the guys decided that just staging print trades at portfolio reviews might not give them a ton of momentum. So they went ahead and founded the collective website Mall Pretzel, where they’re highlighting contemporary photography, seeking submissions, and planning exhibitions, IRL.

How cool is that?

I know that some people must think I’m always championing Review Santa Fe because I know the people there, and they helped launch my career. True enough, I suppose.

But really, those who read me regularly know how seriously I take this platform, and how much I’d like to help others realize their dreams, and pay the bills at the same time. If you don’t want to go to RSF, cool beans, but if you’re on your way up, and trying to make a name for yourself, you really ought to consider attending a top shelf festival.

That said, the point of this article is to highlight the best work I saw at RSF’15, so let’s get to it. (Once again, in no particular order.)

Liz Arenberg is a Brooklyn based artist, and I met her the week before RSF at a Fraction exhibition in Albuquerque. Normally, we’re respect NSFW here at APE, but we’re making an exception for Liz’s work.

Apparently, Liz has a sister, with whom she had a poor relationship, as her sibling was staunchly Christian. Then, her sister, who’s an athlete, came out of the closet, and their relationship improved dramatically. Liz has a series in which she’s photographed her sister, often nude, and there is something original about this project that really struck a nerve with me.

molly_110810_15H 001

molly_112510_L9 001

Molly_022511_13J 001

molly_112510_B3 001

Molly_022511_11E 001

Molly_022511_25C 001

Molly_022511_25I 002

molly_E1 001

molly_121123_7C 001

molly_121123_4D 001

molly_110810_3E 001

molly_112510_B5 001

Shane Brown, (yes, two Shane’s today,) is a part-Native American artist from Oklahoma, where he still resides. (Otherwise known as the New Jersey of the Southwest.) Shane’s project, “In the Territories,” gives us an inside look at a State that was mostly known for football, historically, and is now infamous for man-made earthquakes caused by fracking.

Sallisaw

Sallisaw

Northeastern State University Pow Wow—Tahlequah

Northeastern State University Pow Wow—Tahlequah

Old West Fest—Sperry

Old West Fest—Sperry

Protest of Oklahoma Statehood Centennial—Oklahoma State Capital

Protest of Oklahoma Statehood Centennial—Oklahoma State Capital

Harn Homestead Land Run Reenactment—Oklahoma City

Harn Homestead Land Run Reenactment—Oklahoma City

Indian City U.S.A

Indian City U.S.A

Cherokee Strip Parade—Perry

Cherokee Strip Parade—Perry

Skedee

Skedee

Cherokee National Holiday—Tahlequah

Cherokee National Holiday—Tahlequah

Kiowa Gourd Clan's July 4th Celebration—Carnegie

Kiowa Gourd Clan’s July 4th Celebration—Carnegie

Cherokee National Holiday—Tahlequah

Cherokee National Holiday—Tahlequah

Cherokee Strip Parade—Perry

Cherokee Strip Parade—Perry

Cherokee National Holiday—Tahlequah

Cherokee National Holiday—Tahlequah

Enid

Enid

Honey Springs Battle Reenactment—Honey Springs Battlefield

Honey Springs Battle Reenactment—Honey Springs Battlefield

Apache

Apache

Caddo County?

Caddo County?

Pawnee Bill's Wild West Show Parade—Pawnee

Pawnee Bill’s Wild West Show Parade—Pawnee

Camilo Ramirez teaches in the Boston area, and brought some work to RSF that he’s shot on the Gulf Coast, where he once lived. Camilo was interested in seeing what the region looked like, post-Gulf Oil spill, though the photos are not about that, per se. To me, they attempt the capture the spirit of a place in time, which is always an admirable goal for a photographer.

Ramirez-01

Ramirez-03

Ramirez-04

Ramirez-08

Ramirez-12

Ramirez-13

Ramirez-14

Ramirez-15

Ramirez-16

Ramirez-17

Ramirez-18

Ramirez-19

Ramirez-20

Svetlana Bailey is a Russian-born photographer, but she spent much of her life in Germany, and then did a long stint in Australia. (Have you got that?) Now, she’s studying at RISD, and will be featured in the Fall issue of Photographer’s Quarterly, alongside 4 other global female artists I met at RSF.

Beyond her primary project, which we’ll show in a few months, Svetlana also brought a few palladium prints made in an amusement park in China. That’s right, all the landmarks below are fakes. Fugazi. I guess they really do make everything under the sun in the PRC.

1_Neushwanstrin Castle

2_the opera house In Sidney

3_Abu Simbble Temple

4_The Eiffel Tower

5_Taj Mahal

6_The LeaningTower Of Pisa

7_Algubbat As Sarhah

8_yellow duck

Jeremiah Ariaz strolled in 5 minutes late to his review, just when I thought I was going to get a break. (He was my second-to last meeting of the final day, so my brain was beyond fried.) Therefore, it was going to take a lot to get me back on his side. Fortunately for Jeremiah, his pictures were wild.

Jeremiah is a professor at LSU, in Baton Rouge, and had recently discovered a fascinating subculture, while riding his motorcycle around Southwest Louisiana. He happened upon a group of African-American men who have a Trail Riding club. No typical cowboys, these, as they tow a truck with a DJ to keep them company as they tool around on their horses. Badass, no?

Mr. Real Deal

Jeanerette Trail Ride

Semien Stables, Sulphur, LA

Young Riders

GetInline-4

Semien Stables, Sulphur, LA

Tommi

GetInline-8

GetInline-11

Trail Riders

Alejandro Duran, a Mexican photographer based in Ft. Greene, Brooklyn, was one of Center’s competition winners, so his work was displayed at the Center for Contemporary Arts. As I was schmoozing non-stop that night, I didn’t even get to see the pictures.

Thankfully, I had a review with him, and got to see his portfolio up close. Alejandro spent time in the Sian Ka’an biosphere reserve in Quintana Roo, Mexico, just south of Tulum. He was troubled to find washed up garbage, on the beach, from 50 countries around the world. (Can I get a WTF?) So Alejandro turned the trash into beach installations, which he then photographed. The work has been making the rounds on the Web this Summer, as it is clearly compelling stuff.

Algas (Algae) 2013

Amanecer (Dawn) 2011

Bombillas 5

Bombillas 5

Cepillos 005

Cepillos 005

Cocos (Coconuts) 2011

Derrame (Spill) 2010

Espuma (Foam) 2011

Gota (Drop) 2011

Mar (Sea) 2013

Vena (Vein) 2011

Finally, we’ll get to our last two artists, who were my dining companions at the Saturday night dinner honoring the legendary Anne Wilkes Tucker. To my left sat Tarrah Krajnak, a seemingly Peruvian artist based in LA.

I say seemingly, because Tarrah confided that she was from Ohio, and didn’t speak Spanish. A sharper person might have figured it out for themselves, but Tarrah told me she was adopted. Therefore, one might read into her project, “Dark Messengers,” shot in the American Southwest and South America, as an attempt to get in touch with her roots. Regardless, there is a mystical vibe I find alluring.

BlackHeralds_01

BlackHeralds_02

BlackHeralds_04

BlackHeralds_06

BlackHeralds_07

BlackHeralds_08

BlackHeralds_10

BlackHeralds_12

To my right that night sat Shawn Records, a photographer from Portland with whom I’d corresponded in the past, but never met. He’s been a part of the Photolucida organization for years, and I wrote a blurb about one of his books in the early days of my weekly column.

On a laptop, Shawn showed me a mockup of a book he’s been working on, called “Hero,” that’s modeled on Joseph Campbell’s famed ideas about the hero’s journey. Shawn has spent a couple of years combing through his massive photographic archive, trying to create a through-line that will parallel the aforementioned narrative.

There are a ton of pictures in his resulting effort, but we’re showing just a small sample, for obvious reasons.

Records_0509

Records_0711

Records_0736

Records_0931

Records_1079

Records_2021

Records_2496

Records_3174

Records_3605

Records_3770

Records_3991

Records_4448

Records_4784

Records_5817

Records_6535

Records_6555

Records_7064

Records_8724

Records_9187

Records_9241_2

All right, our coverage of Review Santa Fe 2015 is officially complete. We’ll be back to the book reviews from here on out, and then I’m headed to the Filter Festival in Chicago late next month, so we’ll have fresh portfolios for you in October or November. Have a great weekend.

Work From Review Santa Fe 2015 – Part 1

It’s the first Wednesday in August, and I’m sitting at my white kitchen table. (As usual.) The late Summer sun filters through the window coverings behind me, suffusing the room with warm light.

Outside, the sunflowers stand tall, like teenaged boys trying to impress their fathers. It is the prettiest time of year, from now through October, and it puts me in mind of the impending Autumn.

Oddly, my job is to turn back the clock; to engage my memory, imagining the photographs I saw at Review Santa Fe, in early June. This year, the event took place at the newly built Drury Plaza Hotel on the East end of Downtown. It was a convenient location, but as I spent most of my time indoors, looking at pictures, it didn’t really matter.

The first night, a Thursday, began with a big lecture by an important person. I’m eliding the details, as I decided to skip it, and drove into town a little later. (I cooked a big dinner party for some collector friends the night before, and was too worn out to jump into the early activities.) As such, I headed directly to the opening party at the Center for Contemporary Arts, which featured the Center competition winner’s exhibition: The Curve.

I parked in a still-empty lot, and strolled towards the venue in my new flip flops. (Fancy leather.) I hadn’t checked in at the orientation, so I bore no name-tag, flouting the convention in which people would know who I was before they met me.

Where do you go when you’re the first one to the party? That’s right, straight to the bar. That was the plan, at least. But just as I was approaching the end of the parking lot, a massive bus pulled up, filled with thirsty photographers, all likely to beat me to the drinks, if I didn’t hurry.

Why the rush? Center is famous for its generosity at such events, and there is almost always free food and booze, for the participants. (Keyword almost.)

I approached the very pretty, model-esque bartender, and noticed the trendy alcohol branding behind her. She handed me a menu, and told me there were lots of great drinks on offer. I noticed the steep prices next to them, and frowned. What do to?

Awkward.

Well, I said, and then paused for a few seconds. Is anything…complimentary?

What do you mean? Complimentary?

The drinks. They’re only for sale?

Yes. Of course.

Oh. OK, I said, as the crowd bunched up behind me. Give me a second.

Well, she said. There are ways to get things complimentary.

Right. I said. I get it. Tip you well, like in a bar, and one of them will be on the house. I got it. Thanks. Just give me a minute.

She smiled big, and I later wondered if that’s what she meant, or if perhaps she was hitting on me? Likely the former. Regardless, I stepped to the side, so paying customers could actually order, and pretended I was deep in thought.

However, I was actually deciding how long to wait before I went out to my car to drink some of the Bushmills I’d bought at the liquor store in Pojaque on the drive down. I slunk away, a few seconds later, and wouldn’t you know it, the first person I bumped into, quite literally, was Paccarik Orue. (Featured in a previous APE travel piece in San Francisco, 2012.)

I offered him free booze if he was willing to sneak some plastic cups from the bar, as I was then too ashamed of my thriftiness to face the beautiful bartender again. So he did.

Not two minutes later, we were sitting inside my tinted down, silver Hyundai, slugging whiskey, and preparing ourselves for the onslaught of socializing that is a portfolio review event.

Is there a point to the story, behind me being a cheapskate? Yes, there is: Always be prepared.

Since my intro ran long, I’ll cut to the chase. I had a fantastic time at Review Santa Fe. It was a bit strange to be sitting on the other side of a table, officially, at the event that helped launch my career, on the photographer’s side. But I tried to use that perspective to help put the artists at ease, when I could.

As usual, we’ll highlight some of my favorite work here, in a series of articles. (In no particular order.) I’ll try to conjure up a more interesting anecdote for part 2, but for now, I hope you enjoy the selection.

Jillian Mitchell is an American photographer living on the Mexican coast. Or should I say a misplaced Bostonian? It wasn’t until later in the weekend, well after our review, that a few beers summoned her strong accent.

Jillian showed me a serious and sad series shot at the Mexican teachers college where those 43 students were stolen. It was good, for sure. But this other group of pictures, in which she photographed Mexico, as she knew it, had a joy, strength, and whimsical silliness that I found charming.

jillianmitchell_01

jillianmitchell_02

jillianmitchell_03

jillianmitchell_04

jillianmitchell_06

jillianmitchell_07

jillianmitchell_08

jillianmitchell_10

jillianmitchell_11

jillianmitchell_12

jillianmitchell_13

jillianmitchell_14

jillianmitchell_15

jillianmitchell_16

jillianmitchell_17

jillianmitchell_18

San Pancho Days

San Pancho Days

jillianmitchell_21

Matjaz Tancic showed me some 3D photos made in North Korea that I didn’t find so compelling. I’m really not the target audience, though, as my brain can’t process 3D glasses. I gave him the best advice I could, and we had a good chat. Cool guy.

As Matjaz was leaving, he handed me a portrait of a Mao Zedong impersonator, wearing actual 3D glasses shoved through eye-slits in the print. Easily the best leave-behind I’d ever seen, and I immediately asked him why he didn’t show me whatever series that came from? Though originally from Slovenia, he’s currently based in Beijing, which gave him access to these actors who impersonate Mao Zedong, Chiang Kai Shek, and Zhu De.

Apparently, it’s regulated by the Government. But then again, how could it not be?

DSC_4832-2

DSC_4900-2

DSC_5099-2

DSC_5203-2

DSC_5271-2

DSC_5279-2

DSC_5281-2

DSC_5310-2

DSC_5621-2

DSC_5886-2

Shane Rocheleau got a hold of me before the festival, as he’s a friend of Susan Worsham, whom we interviewed here a few years back. I was predisposed to like him, I must admit. We met at the second to last review, and he was wearing a sharp camel-colored corduroy jacket over a music T shirt. Johnny Cash, maybe?

Shane showed me these pictures from his series “A Glorious Victory,” which is a part of a collaborative investigation he’s doing in Petersburg, VA, alongside Brian Ulrich and others. They chose the town to stand in for the contemporary South, and I thought the prints, all done with a 4×5, were dynamite. So sharp in person. (And yes, the blood is real.)

Boy on Wall 001

Boy with Teddy Bear 001

Brandon and Mikayla 001

Bullet Hole, Bank Window 001

D'Shawn 001

Damon 001

Edward Jones 001

House behind Trees 001

Impounded Car 001

Ja'Quan 001

Jaclyn 001

Looking down S Lafayette St 001

Martin 001

Newlyweds 001

Richard 001

Samantha 001

Shattered Window 001

Terry 001

Tree on Hill 001

William 001

Patti Hallock is a Denver artist, as is the last in today’s piece. (Evan Anderman) It’s a co-incidence that I’m lumping them together, but each did ask me the same question. How can I get my work noticed outside my regional area?

Patti first showed me a project that’s now in the current issue of Fraction Magazine, and I didn’t love it. It was pretty, but didn’t seem to transcend a genre of pretty nature photos. She disagreed, and thought there was more too it than that.

I told her that typically, work that resonates with larger audiences had something of an edge or tension to it. Things that don’t look like other things stand out by definition. She said she had something else I might like, and maybe she could show me later.

Not to pick on Patti, but “later” should never be at 1am on the last night of the festival, on your Ipad, when someone says they’re going to bed and have to pee. Just bad timing, FFR.

But, I try to be a nice guy, so I looked for 6 seconds, and said, sure, send it to me. “It” is “Wreck Room,” in which she photographs people’s basements. The random stuff we never see. I think they’re cool, and contain the funk I suggested she try to bring out in her nature imagery.

PHallock 007

PHallock 012

PHallock 011

PHallock 009

PHallock 002

PHallock 008

PHallock 006

Pram

Evan Anderman is a pilot, and trained geologist. He brought aerial work, which was popular in Denver, he said, and wanted to see how he could break out nationally and internationally. We discussed the multitude of people shooting from the air these days, and that in the wider world, he’d therefore be compared with Ed Burtynsky, Emmet Gowin, David Maisel, Michael Light, and people like that.

It’s tough company.

I suggested that his advantage was his professional-grade knowledge, as a scientist, and if he tunneled (no pun intended) deeper in to that expertise, he might find ways of communicating things the others couldn’t. Plus, knowing how to fly a plane was advantage 2. The following pics are from his series “Ground Zero,” which focuses on environmental degradation, and I thought they were interesting enough to show you here.

Dark Road, Pawnee Buttes, CO, 2014

Prairie Tanks #2, Pawnee Buttes, CO, 2013.

Green Pool, Powder River Basin, WY, 2014

Haul Roads, Powder River Basin, WY, 2014

Dragline Piles, Powder River Basin, WY, 2014

Train Loading, Powder River Basin, WY, 2014

Mine Leftovers, Powder River Basin, WY, 2014

Flare Pool, Pawnee Buttes, CO, 2014

Fracking Fracas, Pawnee Buttes, CO, 2014

Winding Road, Pawnee Buttes, CO, 2014

Industrial Scar, Pawnee Buttes, CO, 2014

Power Plant Residue, Brush, CO, 2014

Rising Steam, Brush, CO, 2014

Coal Feed, Denver, CO, 2014

OK. Part 1 done. More to come next week.

This Week In Photography Books:

by Jonathan Blaustein

Did you read last week’s column? If so, you won’t be surprised to hear I’m a shade worn out this week. I feel like Doctor’s
office carpet that hasn’t been cleaned in two decades.

As such, for the first time in nearly 4 years, I asked for a week off, and Rob obliged. (He’s a good dude.)

And yet…

The idea of dropping out seems so foreign that I find myself typing these words. I can’t seem to cut the cord.

Rather than blowing you off completely, I thought I’d share a tiny bit about how I’m viewing the aftermath of my great disappointment. Thankfully, it gets easier each day.

I’ve been exercising like a steroid-fueled-flat-brim-hat-wearing-MMA fighter, to channel the frustration. AND spending extra time with the kids, to soak up the love.

The reality is that the challenges we face make us stronger. They give us character, and eventually, gray hair. We can’t control how people treat us; nor how they behave in our presence. But I can state with certainty that I kept my cool under pressure, and I learned more about myself through difficulty.

No book review today, unfortunately, and you might even find the above advice trite. C’est la vie. But when given the chance to abandon you for a week of leisure, the pull of normality, of routine, was too strong to resist.

I hope you all have a great Summer weekend, and I’ll be back next week with my first post in a series about the excellent work I saw at Review Santa Fe in June.

This Week In Photography Books: Mark Power

by Jonathan Blaustein

I hate being cryptic. It’s not my thing. Ever since 2010, when Rob suggested I be as honest as possible, I’ve tried to do just that. (Sometimes to my detriment.)

Today, though, I find myself in something of a pickle. I had a very rough week, and normally would spill the beans forthwith. Straight-away. Right now.

But as my career has grown, and I’ve realized just how small is this photo-world of ours, the habit of discretion seems to have taken root. It would be a very bad idea to give the details of what just went down. But as much as I hate to tease, I also hate to miss out on a teachable moment. (You all roll your eyes at that, right?)

The crux of what happened, though, I can most definitely share: Someone dangled a life-long dream in front of my face, and then snatched it away. It went something like this.

Suppose I was a fox. A hungry fox named Reginald. Now Reginald was a bit more hungry than he was smart. He was walking down the normal dirt path through the forest, thinking about food, and all of a sudden he heard someone whisper.

Come here, kid. Come here.

Reginald turned to look, and he saw a big coyote.

I’m Carl, he said.

Carl the coyote?

Just so. And kid, you’ve got to see what I have behind this hedgerow. It’s the most amazing thing you’ve ever seen. A hundred chickens. Just for you.

What, said Reginald. That’s impossible. Do you know how hungry I am? I’d eat my way through the year on 100 chickens. I’ve dreamed all my life of running into a small city of chickens.

Well, said Carl, here you go then. Step right through this hedgerow here.

Reginald stepped through the hedgerow. He was sweating profusely from all the anticipation.

Just as he had his fingers within range of the first chicken, the amuse bouche… WHAM! Carl’s hand wrapped itself around his rear left paw, and he felt himself flying through the air. He landed on his head, back across the road, in a daze.

Stupid fox, said the coyote. Did you really think it would be that easy?

Most dreams don’t come true. That’s me talking. Not a coyote or a fox. Mine still might, and I have plenty to be thankful for regardless. But that doesn’t change the fact that most dreams don’t come true.

I know that.

And I also know that good fences make good neighbors. But what about walls?

The Berlin Wall, in particular. What must it have felt like to stand there, watching as it opened on that fateful day in 1989? How many people had dreamed of their freedom?

All those East Germans, dreaming of a better life. And then it happened. Someone made a call, after the rumors had spread, and the guards at the gates said let them through. What might that have looked like?

Well, we don’t have to wonder. I just finished looking at “Die Mauer ist Weg!,” a new book by Mark Power, published by Globtik Books. Yes, we’ve got a great one this week, folks.

Take it out of the wrapping, and it’s a weird cardboard thing all in German. The cover looks like a tabloid paper headline. (But I don’t read German.)

After a title page, we get a very cleanly written, engaging statement by the artist, setting the scene. He was about to quit his photo career, back then, and a friend convinced him to give it one more go, and sported him some cash to boot.

He used the money to buy a plane ticket to Berlin, maybe on a whim? And he’s standing there, somehow, when it all goes down.

These pictures are so cool. All those cameras. All that 80’s German style. All that history. In real time.

In the statement, Mr. Power suggests that such a thing could not happen now, a few people with cameras, shooting film, and telling the story for history. Now, of course, there would be thousands and thousands of live video feeds on Periscope.

(As I’ve said before, the 20th Century seems like a long time ago.)

The few pictures of empty East Berlin are dynamite. The whole thing is thoughtfully produced, with a cardboard inner wedge to keep the pages in place. (Removable, which is handy.)

This book captured a seminal time in modern history, but takes the effort to embed the pictures in a book package that doesn’t leave those photos to do the work alone. Very instructive, I think, for the rest of us.

Bottom Line: A great book that shows the fall of the Berlin Wall

To Purchase “Die Mauer ist Weg” Visit Photo-Eye

IMG_0822

IMG_0824

IMG_0825

IMG_0826

IMG_0827

IMG_0828

IMG_0830

IMG_0831

IMG_0833

IMG_0834

IMG_0835

IMG_0836

IMG_0837

IMG_0838

IMG_0839

This Week In Photography Books: Alejandro Cartagena

by Jonathan Blaustein

I just watched a horse walk in circles. There were two gates, in front and behind, that marked his turf. Slowly went the horse. Slowly turned the rotor.

No one was there minding him, outside the barn. I happened by at the end of my run, and decided to play spectator for a moment. It seemed so obviously metaphorical. (And put there just for me.)

We believe ourselves so different, each from another, each race distinct. But the majority of people in the world will do these things, day in and out. Sleep. Eat. Wash. Work. Walk. Talk. Copulate. Procrastinate. Etc.

Our media, social and old fashioned, binds us together through an electronic web. It’s real enough, though we can’t see it. What have I learned from the great InterSphere?

Twitter is the news these days. And it’s also the reason I know that Donald Trump said some nasty stuff about Mexico. Or was it Mexicans? And what did he say exactly? Does it matter?

What I came away with was that racist, idiot Donald Trump offended an entire nation. Is that the gist? You can only glean so much from 140 characters at swipe speed.

Or what about “El Chapo” escaping a maximum security prison in Mexico? Did you hear about that one? Do you know who he is?

Was anyone surprised the most powerful cartel boss in Mexico got away from the authorities? If so, did they tweet their dismay? What might that have looked like?

“OMG. Can’t believe they let him get away again. #Corruption #Jailbreak #Oralé”

Personally, I would have said something like, “Of course he got away. If those monsters in New York State could figure it out, with nothing going for them outside of charm, paintings, and a large penis, then how could any prison hold a man with limitless money and power?”

Twitter didn’t exist when the Mexican Drug War started. We’re so self-involved here in the US that most people have forgotten about it entirely. After Enrique Peña Nieto went on his own charm offensive, after his election, the PR gurus pushed the story down below the fold. It was all about the Mexican economy. Let’s not rock the boat.

But now they have egg on their faces, or huevos, if you will, because this story perfectly fit the entrenched narrative that the inmates are running the country. If you can pay, you can play. (Insert further random cliché here.)

This is not a news site, and I’m not a proper journalist. But we do attempt to discuss big ideas, and pragmatically dispense advice about the way things are. As such, I interviewed Mexican photographer Alejandro Cartagena a few years ago, and he told what it was like living on the front lines of the Drug War, in Monterrey.

Alejandro is a friend, and a prolific artist, so I was not surprised when “Before the War” turned up in my mailbox the other day. Apparently, the pictures within were shot between 2005-7. (Hence the title.) So let’s take a look.

This is one of those publications that I pretty much had to review. Not because of my personal connection, but because it pushes the boundaries of what we’d call a book. The title is actually printed on the envelope, so even the packaging is a part of the production.

In that regard, it reminds me of something that TBW books might make. (As we learned from their publisher Paul Scheik, it’s the little details, done properly, that make all the difference.) It’s also note-worthy in that the pictures are really not that special, which is a subject we’ve highlighted of late as well.

Pull the tab to open the envelope, and you’re faced with some explanatory text. The war began in 2008. There are more than 80,000 deaths recorded since then. It has been a clusterfuck of tragic and enormous proportions.

Slide the plastic sleeve out of the envelope, and open that too, and there is a pile of smaller inserts, seemingly printed on newsprint. (Cheap to produce, and a built-in Marshall McLuhan reference to the old way news was disseminated, pre-Twitter.)

The first leaflet has text from a press conference in which President Felipe Calderon, who began the War, spoke directly to a heckler. There are pictures interspersed, and then stories. Poignant tales that make you feel something.

Kidnappings. Murder. Appropriation of property. All crimes that fester in the vacuum of Chaos.

There is a subsequent fold-out-poster with portraits, and text snippets that refer back to one of the previous stories. Then a faux-postcard. Then still more leaflets filled with the kind of empty, blurry photos, including soaring birds that make me think of vultures.

A few weeks ago, I critiqued another book for using the horror motif gratuitously. Here, it’s different. The pictures were made before-the-fact, but the production elements enable the pages to channel a certain type of emotional tenor, for a very particular reason. (You see people, you think ghosts.)

It’s almost Baroque, as the darkness that inspired the “book” drips back off the pages, taunting you to imagine what other people’s lives are like. Do you really want to know?

I’ll try to write something funny next week, as the last two reviews were a tad heavy. You know I like to keep the balance. But today, while it’s Summery, and hopefully you’re getting ready for a great weekend with your friends and family, maybe pour a little bit out for the homies now beyond.

Bottom Line: Innovative, experimental, and emotional “book” about the Mexican Drug War

To Purchase “Before The War” Visit: http://tienda.alejandrocartagena.com/product/before-the-war-2nd-edition/

IMG_0794

IMG_0795

IMG_0797

IMG_0798

IMG_0799

IMG_0801

IMG_0802

IMG_0804

IMG_0805

IMG_0807

IMG_0808

IMG_0810

IMG_0812

IMG_0813

IMG_0814

IMG_0816

IMG_0817

This Week In Photography Books: Zun Lee

by Jonathan Blaustein

I just stormed into my bedroom in a huff. I didn’t exactly slam the door, but closed it demonstrably, and then turned the lock.
Obvious message: Do Not Disturb.

From whom was I fleeing? My beautiful family, of course. We’re well into Summer, by now, and the kids have been out of school for seven weeks. Which means we’ve all been together, seven days a week, since then.

(Primal scream!)

As I suspect you’ve surmised by now, I love my family more than anything. My two children, 7.5 and nearly 3, are fantastic human beings. Sugar and spice we call them. I could not love them more.

But everyone needs some space to think, much less write book reviews, and I’ve had little of either for quite some time now. It’s mostly a pleasure and a privilege, to spend so much quality time together, but there is an element of claustrophobia as well.

I’m a Jewish guy from a good background with a very solid education behind me. Despite the facial hair, and perhaps because of the lack of tattoos, I know I look the part of a doting middle-class father.

When people see me holding my daughter’s hand in the supermarket, they smile. When people see me cheering at my son’s soccer game, they nod in approval. When people see me walking down the street, alone, they don’t recoil in fear.

It’s a freedom that so many people in the United States lack. The ability to be out in public space, and not seem a Menace to Society. I don’t know what it is like to be African-American, or Latino, and I clearly never will.

But that doesn’t mean I’m not familiar with the impact of racism on the lives of men of color. Racism is an inescapable conversation in this nation at present, for good reason. #BlackLivesMatter

It’s quite the conundrum. The stories are everywhere, and impossible to avoid. And yet the experience of living in someone else’s skin- skin that doesn’t look the same color as mine- is something I will never know.

Thankfully, I just finished looking at Zun Lee’s book, “Father Figure,” recently published by Ceiba, and it’s been the catalyst of the musings above. Given how cleanly this production shows us something we haven’t really seen, I’m sure you’ll be interested in the photos below.

This is one of those books that seems to support all the advice I’ve tried to give out here of late. If you want to make something original, and perhaps important, you’ve got to start from your own lived experience. It has to be personal. And the more honest, the better.

Apparently, Zun Lee was raised in Germany, with an abusive father. He took comfort in the home of American GI’s stationed there, in particular with a changing roster of African-American families. They offered him the support and nurturing he lacked, and craved.

Fast forward many years, and Mr. Lee learned that his biological father was in fact an African-American, (who deserted his mother,) as opposed to the man who actually raised him. Quite the Mind-Fuck, I’m sure. It troubled him to feel like one more statistic with an absent Dad. One more piece of kindling on the conflagration of stereotype.

So he decided to use his photographic practice to learn more; to see for himself what “proper” loving African-American fathers looked like. To search out the type of environment he wished he’d had, and in the process, provide ample evidence that what we think we know is far from the complete story.

I like these pictures. They’re really well-made, but surprisingly, they didn’t touch my emotional core. My eyes never teared, and my breath never left my chest for long periods of time. I’m not sure why that is?

Could it be that I’m callous? Or that my lack of understanding for what these men’s lives are really like clouded my heartstrings? I don’t know, but I always like to check in and see what I’m feeling and why.

The book contains some excellent writing, in particular Mr. Lee’s opening essay, which overshadowed the brief piece by Teju Cole that preceded it. If you want to learn how to share your secrets with others, reading his story will give you a boost.

But there are also interview blurbs spread throughout, on pages opposite the photographs. Each was poignant, giving solid parenting advice that resonated deeply with my own acquired knowledge. It was Universal, I felt, and in a way undercut the notion that races are inherently and irrevocably different.

Even though we are, to a degree. I can wear a hoodie without being shot.

I’m not surprised these pictures are popular, nor that they’ve gotten support from major African-American photographers, and photojournalistic power-brokers. (Including my editors at the NYT, apparently.) This is the type of messaging that people are desperate to see, because it’s real, and it’s a giant, bony thumb in the eyes of the Fox News assholes who demonize men like this, 24/7.

This is an excellent book of solid photographs, showing us something we really ought to see. As such, I’m happy to highlight it, and would not be surprised if many of you wanted to buy it. The more people who see these pictures, the better.

To tie it back to this little run of reviews, in which I’m lecturing a tad more than normal, I’d also suggest that it’s an inspirational book. (Beyond the way you might think.) Most photographers don’t have the courage to use their art process to dig deep into their gaping wounds. It’s painful, and difficult.

But as the great Roger Ballen told my students this past Spring, the darkness is where the very best material resides.

Bottom Line: Excellent book examining the lives of loving, African-American fatherhood

To Purchase “Father Figure” Visit Photo-Eye

IMG_0776

IMG_0777

IMG_0778

IMG_0779

IMG_0780

IMG_0781

IMG_0782

IMG_0783

IMG_0784

IMG_0785

IMG_0786

IMG_0787

IMG_0788

IMG_0789

IMG_0790

IMG_0791

IMG_0792

IMG_0793

This Week In Photography Books: Stephen Shore

by Jonathan Blaustein

I just got home from a family vacation. In Colorado. So my brain is not working as well as it normally does. (Must. Activate. Remaining. Braincells.)

In fact, I just deleted several paragraphs, and jumped right back to this spot. I never do that. These columns normally flow like the water in the Rio Hondo, right after the snow pack begins to melt.

But not today.

Today, I want to talk about nostalgia. Or, more correctly, the way in which some temporal markers take on a power that is far greater than what they have earned. I’ve got a handy example, so you know exactly what I mean.

I was at Review Santa Fe a few weeks ago, as I’ve mentioned. The articles highlighting the work I saw will be coming out in the near future, but I wanted to share an unrelated anecdote. (What’s that you say? I’ve never met an “unrelated” anecdote? Point taken.)

One of the photographers at the event had a previous career as a TV journalist back in the 90’s. It’s not important whom I’m discussing, but let’s just say that the person held an outsized place in the culture at the time, despite never being a superstar.

During the weekend, I watched as one GenX photog after another seemed starstruck and smitten. Again, this is not Tom Cruise we’re talking about. But some things that are important to us, at critical times in our youth, never really lose their power. (That’s why the rest of us can’t really understand how much Baby Boomer guys love Mickey Mantle.)

Speaking for the 90’s, I think that “Seinfeld” was such a cultural touchstone. (“Not that there’s anything wrong with that.”) It’s freaking 2015, and it still seems like Jerry, Elaine, George and Kramer are America’s weird, narcissistic best friends. Who would have thought a show about NOTHING could make such a lasting impression?

Sometimes, NOTHING is the best possible subject, because it allows an artist to super-impose his or her own vision, or range of emotions, directly onto a historical stage. Even time can feel more important, when it’s supporting a flimsy premise; when all that matters is the way color, light, and composition meld together into an enduring scenario that would otherwise escape notice.

Am I talking about anyone specific?
Stephen Shore. American master.

The last time I wrote about him, I mostly-trashed his book of photographs made in Israel. I pined for the less-complicated, almost breezily brilliant pictures made in his heyday. Back in the 70’s.

So that’s what we’ve got for today: Stephen Shore’s “Uncommon Places: The Complete Works,” recently released by Aperture. It simply doesn’t get any better than this, my faithful readers. No irony required. This shit is fantastic.

It took me a lot of brain power just to make it this far, so that means I’m going to wrap it up rather swiftly. I’ll shoot an extra few pictures so you can enjoy the ride a little longer, but for once, there’s not much I can say.

The pictures really are about “NOTHING,” in the sense that the collection merely records one man’s travels, and the things he saw, back in the 70’s. There were many images made in mid-1974, and my imagination ran wild, visualizing this guy, moseying around with a big camera, while I was drinking formula and spitting up on my Mom back in Jersey.

The truly iconic pictures, like “Holden Street, North Adams, Massachusetts, July 13, 1974” stand out, in that we’ve seen them before. They’re etched in our minds, like our grandmother’s face. But they fit into the continuum of Mr. Shore’s journey, and deliver about as much pleasure as the other plates. (Beyond giving a quick jolt of nostalgic thrill, reminding us of the phase when we first discovered them.)

The last two weeks, I’ve talked about developing your own voice. It is hard, I admit. Starting from your own passion and knowledge base is a good idea.

Another way to go about it is to obsess about your favorites. Look at their work until your eyes bleed. That way, the next time you’re looking through the viewfinder, you’ll recognize when you’re about to snap one of “their” pictures, and then slowly let your finger off the shutter.

Bottom Line: A classic, meant to be appreciated over time

To Purchase “Stephen Shore’s “Uncommon Places: The Complete Works” Visit Photo-Eye

IMG_0751

IMG_0752

IMG_0754

IMG_0755

IMG_0757

IMG_0758

IMG_0759

IMG_0760

IMG_0761

IMG_0762

IMG_0763

IMG_0764

IMG_0765

IMG_0766

IMG_0767

IMG_0768

IMG_0769

IMG_0770

IMG_0771

IMG_0772

IMG_0773

This Week In Photography Books: Yusuf Sevinçli

by Jonathan Blaustein

“Once upon a midnight dreary, while I pondered, weak and weary, over many a quaint and curious volume of forgotten lore, while I nodded, nearly napping, suddenly there came a tapping, as of someone gently rapping, rapping at my chamber door. ”Tis some midnight visitor,’ I muttered, ‘rapping at my chamber door. Only this, and nothing more.'”

Edgar Allen Poe, “The Raven,” as I remember it from 7th grade

You never know what will stick in your head. Some things stick that we’d rather not, like an image of James Foley getting his head hacked off. Other things hang around, and we savor them, like the aftertaste of some magical Ecuadoran chocolate.

In general, it’s good to be memorable, if you’re a photograph. It means there’s an element, embedded in your pixel or grain structure, that enables you to stand out from the literally endless crowd.

The numbers of pictures made each day, week, or year, are simply too large to process. They might as well be infinite, these jpegs, because I can’t imagine anything stemming the tide. Even in the end of the world, as imagined by Sci-Fi genius Neal Stephenson, the jpegs and .mov files withstand the apocalypse.

Given this reality, (tons of pictures, not the end of days,) it’s the job of a conscientious photographer to try to figure out the secret code to originality. It’s often said that developing a voice, or Point of View, can help differentiate oneself.

I’d say that’s true, but perhaps it’s easier said than done. In a world of 7 billion people, it can be a tad tricky to figure out what makes you different from everyone else. Even self-awareness is not the magic bullet it might have been back in the day, when the “Average American Male” was as cognizant of his emotions as a pile of railroad ties.

Then again, you, the audience, are not limited to America. That’s one of the very best things about the Internet. It brings us all together. British photographers know what’s on the wall in Los Angeles. Japanese book makers know what’s on the shelves in Roman stores.

It’s all out there.

Normally, we think this is a good thing, in that we keep abreast of our community. Sure. That’s true.

But it can also make it that much easier to ape someone’s style. To allow the creative creep to happen, in which you’re subtly absorbing information you might not even realize. Before you know it, you’re not exactly appropriating, but your pictures are less original than they might have otherwise been.

Which brings me back to “The Raven,” or at least, what I remember of its opening stanza. How do scary movies work? They use scary music, with lots of low-timbre, asynchronous drums, strings, and piano. The color palette revolves around some shade of Black.

The world that Edgar Allen Poe conjured, before cinema even existed, haunts us still. (Pun intended.) Scary movie tropes are there because they work. Lots of light, with shiny colors? Not scary. Skeletons emerging from black muck? Scary.

It’s the same thing with a certain style of photography. Black and White. Grainy. Low light. Blurry. Creepy. Discomfiting.

Having said those words, do any images come to mind? I bet they do. I reviewed Ken Schles’ book “Invisible City” a month or so ago, and it would fit the bill. But it was done back in the 80’s, and those pictures conjured a mood that by all accounts resonated with the New York City that actually existed.

“Good Dog,” a book in my photo-eye pile, by Yusuf Sevinçli, made in Istanbul, may represent that city just as well. I have no idea, as I’ve never been to Turkey. (Though I’ve heard it’s a lovely.)

The book, though, reminded me of so many others that I was not able to take it seriously. I apologize, as normally I lavish praise on the books I write about. This one certainly has redeeming qualities, and some of you may even want to buy it.
(I’m not suggesting it’s worthless.)

Rather, it’s devoid of creativity, despite its edginess. Last week, I deviated from my normal style, and wrote a critique directly to a young photographer. Having received a thank you note, I feel I hit the mark. And the comments were favorable too, though one person did suggest I was in attack mode because the pictures were so traditional.

Everyone knows I like edgy work, but what does that even mean? I’d suggest it refers to photographs that contain an element of tension and surprise. They throw the viewer off-guard, with unexpected choices. I enjoy sitting with such pictures.

“Good Dog,” therefore, does not match up with that description. The trope does, with it’s darkness, grain, big eyed kids, dangling Eggleston light bulb, flowers, panty-covered vagina, flies, dogs and birds. It’s supposed to be edgy. I get that.

But after seeing such things more times than I can count, I was bored of this book well before I finished. I even made a game of it, saying, “Wait for it. Wait for it.” until the boob shots showed up. They had to be there. It was inevitable.

Why?
Because Boobs Sell Books.℠

I’m sure Yusuf Sevinçli is a talented artist. He shows in galleries, and might well sell a lot of his work. I’m not suggesting he’s a hack. Surely, these are the types of photographs he enjoys making. (And with Ken Schles thanked in the end notes, he appears to have some well-placed supporters.)

However, I didn’t want you, the audience, to think I took a shot at Seth Hancock last week because of the style of work he likes to make. Rather, I sought a teachable moment, where I could speak to all the image-makers out there. In particular, because it’s a message I’ve heard directly from other colleagues at portfolio reviews.

Make the pictures you want to make. Do what gives you joy, or satisfaction, or scratches the incurable mental itches that cloud your sleep.

But when it comes to making a book, and putting things out there for the rest of us to see, don’t sell yourself short. There are many ways to tell the same stories. And tropes can even be broken. In fact, it’s the subtle tweaking of tradition that tends to create the deepest resonance.

Bottom Line: Weird, dark photos from Istanbul

To Purchase “Good Dog” Visit Photo-Eye

IMG_0733

IMG_0734

IMG_0735

IMG_0736

IMG_0737

IMG_0738

IMG_0739

IMG_0741

IMG_0742

IMG_0743

IMG_0744

IMG_0745

IMG_0746

IMG_0747

IMG_0748

IMG_0750

This Week In Photography Books: Seth Hancock

by Jonathan Blaustein

A picture is worth a thousand words. So they say. And “they” are normally right, so we repeat the cliché ad nauseam.

But what if they’re wrong? What if words ARE better at some forms of communication? Are we all in the wrong business?

It’s an interesting question. These days, images are more popular, and by assumption powerful, than ever before. We discussed the idea a while back with curator Russell Lord, a photography expert if ever there was one.

The idea is that photographs convey information beyond the boundaries of language. A picture of fire will read as fire in China, Chattanooga, or Timbuktu. Fire warm. Fire cook food. Me like fire.

We don’t need words to recognize an object, or even a set of actions. Soccer/Football is a global sport, and a portrait of Lionel Messi, or Cristiano Ronaldo, will be recognizable in most parts of Earth, with no further explanation.

But what about emotions? What about the subtle nuance that resides inside a human being’s soul. (Should we accept the existence a soul, which is DEFINITELY a conversation for a different day.)

I’m waxing philosophical, as my brain is still in some form of image-induced stasis, after looking at dozens of projects at Review Santa Fe this past weekend. I’ve come to find that the best work gains quick acceptance in a portfolio review environment.

You can always spot the artists whose work is breaking out. They stand up a little straighter. Look you in the eye. They know they’ve got the goods.

But that leaves a rather large percentage of photographers who are making good photographs, or even just decent. They mostly get silence from their reviewers, or quiet nods. It’s hard when you’re not getting compliments or criticism, so I go in the other direction.

I give honest, kind critiques, and now, people seem to be seeking me out just for that. They know I’m there to help.

So today, we’re going to attempt such a thing in a book review. It’s more of a catalog, really, called “10 Minutes With A Stranger,” sent to me directly, by the photographer Seth Hancock. (Now of Los Angeles.)

I received it a while back, and just took a look. It’s not like anything I’d normally review, and you regulars know I’ve tried to expand my range of late. So let’s go there.

Seth, I’m guessing you’re a commercial photographer. By calling it a personal project, and the shooting style you adopt, I’m inclined to read the situation thusly. Perhaps you do editorial work too, but I don’t think your training is in art.

The project, which we’re looking at here today, consists of images you made of random strangers, on a long and winding American Road Trip, while you were moving from New York to LA. You limited your time with all the people you met, and beyond photographing them, you also got them to share very personal information with you via a diary.

You must have some very impressive people skills. (Rico Suave, my friend. Rico Suave.) I liked the idea, and I like the book, but perhaps not in the way you intended.

The pictures have a very “commercial” look to me. They’re shiny, and some of the people are even smiling. (The big no-no in the art world.) I can tell straight off that you know how to operate a camera, and a set of lights. And I did like the two images in which you had the subject hold a light to their face. (Very meta.)

But if I were judging the photos alone, they really don’t tell me much about who the person is, nor are they distinctive from other photographer’s pictures. There is no edge. No overtone of emotion. The wall between subject and camera is thicker than Donald Trump’s bullshit. They’re neither off-putting, like early Thomas Ruff, nor are they poignantly beautiful, like Rineke Dijkstra.

The journal entries, however, are often heartbreaking. I can’t believe you got people to open up to you like this, in such a non-traditional way. (At least for a photographer.)

A young man writing a tragic letter to his dead wife. A young woman sharing her fears and pain after having a stroke, brought on by faulty medication. A man, chilling on a stoop that says “No Loitering,” writing of his trip down the wrong path, and subsequent redemption.

An African-American cowboy quietly bemoaning racism. An older man, who raises wolves, and wishes humans could only be a shade more lupine. Or a young Latino woman who said the best day of her life was when her father abandoned her family. (We can only imagine…)

I read each and every page. Word by word. Wow, were these stories powerful. I felt connected to the subjects on levels profoundly beyond what the pictures allowed me to access.

Yet, I’d never have read the words, had the pictures not existed. Not only do the images anchor the project, but I only review photo books. No photos, no review.

So, Seth, I’d encourage you to figure out how to imbue your future pictures with the depth and emotional intensity found in these incredibly honest admissions. Is it even possible for you? I don’t know.

But the best portraits obviate the need for explication. They leave us with more questions than answers. And typically, the best stories don’t have pictures. Perhaps you’ll break new ground one day?

Either way, I’m glad you sent your book my way. It held my attention, and made me think. It gave me access to new information: in this case, the inner world of a set of strangers I’ll never meet.

Bottom Line: An interesting personal project that illuminates a set of random lives

IMG_0690

IMG_0692

IMG_0693

IMG_0694

IMG_0696

IMG_0697

IMG_0698

IMG_0699

IMG_0701

IMG_0702

IMG_0703

IMG_0704

IMG_0705

IMG_0706

IMG_0707

IMG_0708

IMG_0709

IMG_0710

This Week In Photography Books: Sol Neelman

by Jonathan Blaustein

It’s a Thursday. You know what that means. Yup, this is a column
I’m going to pull straight out of my _________.

Sorry. It can’t be helped.

It’s not that I’m lazy. Just the opposite. The last few weeks have been as busy as any I can remember, and I’m about to leave for Review Santa Fe to look at portfolios to publish here. My brain feels like it sky-dove out of a plane and landed on a concrete basketball court.

Ouch.

Normally, I’d like to be fresh heading into an immersive festival weekend, but as I said before, it can’t be helped. Instead, I’m going to make lemons out of lemonade, and listen more than I talk at RSF, because I’m too punch drunk to charm anyone, even if I wanted to.

But a column is a column, and that means I’m here to gut it out. Man up. Leave it all on the field. (Insert random sports cliché here.)

Are you sensing a theme? Shall I spell it out for you? Yes, we’re going to talk about sports today. And not just any sports. (Or sport, as the Brits say.)

Today, we’re going to riff on “Weird Sports 2,” a new book by Sol Neelman, published by Keher Verlag in Germany. Sol’s appeared in this column twice before. I wrote a blurb about “Weird Sports,” before I adopted my now-patented-ridiculous-rambling style, and then we chronicled his habit of wearing Lucha Libre masks in an article about the New York Times Portfolio Review in 2013.

Now he’s back, in all his Weird Sports-loving glory.

This is the kind of book that is very hard not to like. In fact, if you hate it, I’ll have to accuse you of lacking any sense of humor whatsoever. Which means you’re no fun, so I’d rather you spent your Friday reading time elsewhere.

Leave, I say. Leave.

Just kidding. But it is a book that chronicles the odd and sometimes depraved way that human beings choose to spend their spare time. Are there inspirational photos? Yes, like the picture of blind sprinters cruising down the track at the Paralympic games in Beijing.

But those are the exceptions, not the norm. Ostrich racing. Monster Wrestling. Zombie 5k runs. Sandboarding in Morocco. Musical chairs. Quidditch. Bog snorkeling in Wales. (Sorry, but that’s just gross. You might find Richard III’s crushed skull down there, if you’re not careful.)

What did I learn? That an astonishingly large number of weird sports seem to exist in the Pacific Northwest. Portland and Seattle, are you really that funky? What gives? Haven’t you ever heard of basketball and soccer? You know, normal past-times?

I might quibble about whether a Beard and Mustache Championship counts as a sport, and let’s not hate on Sol for including “World Naked Bike Ride,” (again in Portland) because, say it with me now, Boobs Sell Books.℠

As to the Lightsaber Fencing practitioners, can we really be surprised that they’re getting their game faces on in San Francisco? (No, we cannot.) And if George Lucas wasn’t cashing royalty checks from those nerds before the book came out, I’m sure he is now.

That’s what I’ve got for you today. The clock is running down, and I need to pack for RSF. Frankly, I’m a little pissed I’ve got to miss Game 4 of the NBA Finals tonight. I’d tell you to watch some Lebron James brilliance, but by the time you read this tomorrow, the game will be over.

To Purchase “Weird Sports 2” Visit Photo-Eye

IMG_0666

IMG_0667

IMG_0668

IMG_0669

IMG_0670

IMG_0671

IMG_0672

IMG_0673

IMG_0674

IMG_0675

IMG_0676

IMG_0677

IMG_0678

IMG_0679

IMG_0680

IMG_0681

IMG_0682

IMG_0683

This Week In Photography Books: Sachiko Kawanabe

by Jonathan Blaustein

The sun doesn’t care if you live or die.

It’s true.

The glowing orb, impossibly far away, hangs in the sky, while we spin around it. Its heat and light enable our existence, yes, but don’t fool yourself.

The implacable star has no feelings about any of us. It just is, and so are we. The only difference, near as I can tell, is that we are here for the briefest of times, aware our journey is finite.

The sun, on the other hand, will outlive us all.

I’m sitting at my white kitchen table, musing as usual, enjoying the ambient sounds of chirping crickets. Outside, the aspen leaves shimmer as only they can; proof of the slight breeze that animates them. Bird calls complete the scene.

There is nothing else, at the moment.

I just finished meditating, which is a practice I’m trying to adopt. It might explain my metaphysical mood. Meditation is one of those things that are clearly good for you, like spinach, but it takes dedication to adopt it properly. (We’ll see if it sticks.)

So I AM calmer than I might otherwise be. But it’s not just the silence, and the sweet muscle relaxation that comes from sitting still, breathing in and out in rhythm. No, my mood was further enhanced by just the right photobook, at just the right moment.

I’ve really come to love this job, because I have a routine that revolves around entering other people’s worlds, each and every week. I’m rather picky about what I like, when I see things on the wall. I want NEW. I want innovation.

But with books, I’m far more interested in crossing the threshold of an immersive experience. Losing myself, as I do when I have a camera in my hand. (Don’t we all.) Or when I’m swimming laps.

Stroke. Stroke. Stroke. Breathe.

What engendered this New-Age-Reverie? “sononite,” a new book by Sachiko Kawanabe, recently published by Omoplata/Superlabo in Japan. I’m sure you’re not surprised, because nobody does Zen like the Japanese.

This is a genuinely lovely book. It ticks all the right boxes: beautiful, quiet, contemplative, philosophical, and well-made. I’ll do my best to write about it, but books like these really do need to be held.

It opens with a horizontal orientation, back to front. Immediately, we’re interacting with the book in a non-traditional way. After the cover, we get a short bit of thoughtful text that gives the crucial details: the story is about an apple orchard that the artist found, and visits regularly.

She loved the place so much, in fact, that she and her young daughter spread her beloved grandmother’s ashes among the trees. This is not just a grove raising food for people. It is also a final resting spot, but grandmother will not rot, as the apples do. The fires put an end to that.

Thereafter, the orientation shifts to vertical, and we begin in Winter. The snow reflects those sun rays, and the white set against the blue sky is just right. Nature may not care if we live or die, but it does know how to give the perfect backdrop on which to play out our daily drama.

Winter to Spring, Spring to Summer. At one point, despite the uniform loveliness of the images, I found myself wanting something new. On the next page, I noticed a picture with a blue cast that seemed unnatural, even in evening light. My attention returned.

That happened again when the artist’s daughter appears, and yet again when I turned the page and found a lovely burgundy book-mark-string. As always, pacing details are important, and respected, in well-made books.

Summer gives way to Fall, and the fully grown apples desiccate on the ground, as we all will, one day. (Unless we ask them to burn us.)

This book works on several levels. It allows you to contemplate your mortality without grief, because everything is impermanent. (Even the sun.) But it also gives us the opportunity to shut out those thoughts, if we so choose, and luxuriate in some very beautiful pictures of a sweet little apple orchard in Japan.

Bottom Line: Beautiful, Zen book that shows us the cycle of life

To Purchase “sononite” Visit Photo-Eye

IMG_0644

IMG_0645

IMG_0646

IMG_0647

IMG_0648

IMG_0649

IMG_0650

IMG_0651

IMG_0652

IMG_0653

IMG_0654

IMG_0655

IMG_0656

IMG_0657

IMG_0658

This Week In Photography Books: Alessandra Mauro

by Jonathan Blaustein

The cursor blinks. Blue on white. Blink. Blink.

Taunting me.

“What are you going to say this week, Blaustein? Are you going to tell us a story about your kids? Or deconstruct a Hollywood movie? How are you going to keep it fresh?”

It’s a surprisingly annoying cursor. Poking at my insecurities. And yet I’m fond of it. (Him? Her?) It’s kept me company for years, and only now have I even realized it’s blue.

I guess I’m not that observant. Blink. Blink.

If you couldn’t tell, I’m pretty fried at the moment. Yesterday, I drove to Santa Fe, then Albuquerque, then Santa Fe, then home. 6 hours and 250+ miles of Wild West road-tripping, all to drop off pictures for an exhibition, and shop for clothes along the way.

Everything I bought was either made in India or Bangladesh. Some items were extremely inexpensive, others more reasonably priced. But it all came from a sweatshop, or so I’d imagine. Normally, I don’t think very carefully about that. But I recently saw a John Oliver rant on the truth behind the international clothing industry.

It’s not pretty.

And I was left with a mental image of children stuck behind sewing machines. It’s dancing through my mind, just now, and igniting some serious guilt about my purchases.

As I’ve learned, and tried to share with you here, sometimes you just need to turn your head sideways to see something with a completely new perspective. It can make obvious things that were obscured, like dropping a pair of corrective lenses over your young son’s faulty eyes.

Today, I’m going to review a book unlike any I’ve covered. And I’m going to do it in a way that’s different from the manner in which you’re supposed to review such a book. Watch, as I break two rules at once.

It won’t hurt a bit.

“Photoshow” is a recent offering from Contrasto in Italy. It was edited by Alessandra Mauro, and contains interviews and essays that explore the history of the photographic exhibition. Yes, it’s a publication that attempts to corral a 3-dimensional experience into 2-dimensions, and compress nearly 200 years into a few hours of reading.

Or so I’d imagine. Because I didn’t read a word.

This is a book you’re supposed to read. It even included an interview with Quentin Bajac, the head curator at MoMA, whose opinions and expertise are certainly worth exploring. (I’m sure I’ll get to it one of these days..but not today.)

Rather than skipping a review, because I write about pictures, not words, I decided to open the book and look at the photos. Why not review this as a photobook, and acknowledge that many of you would likely enjoy the essays too?

Why not indeed?

It’s the rare publication that starts with pictures by Talbot and Daguerre, and ends up with a photo of Erik Kessel’s room installation of 24 hours worth of pictures from Flickr and Facebook. In fact, it may be the only such publication ever made.

We see a killer image by one of my favorites, Gustave le Gray, and a trio of pictures by Roger Fenton, including the classic that shows his mobile horse buggy/ photo studio. My long-time readers know how much I love Fenton, so that selection got my attention.

Marcel Duchamp’s famed urinal at Edward Steiglitz’s gallery? Installation shots from “The Family of Man?” Joseph Kosuth’s seminal three versions of a chair? All mashed up with Jeff Wall’s work and lots of work on walls?

Skip the words, and this is one cool book. Read the words, and you come out with more education than you started. Either way, it’s a win win.

I’m sure some of you will be shocked at my perceived laziness. That’s understandable. You’re not supposed to review a book without reading it. But you’re not supposed to support a system that enslaves children either, and we all seem tragically OK with that.

Bottom Line: Cool pictures, lots of words, and a heap of photo history

To Purchase “Photoshow” Visit Photo-Eye

IMG_0618

IMG_0619

IMG_0620

IMG_0621

IMG_0622

IMG_0623

IMG_0624

IMG_0625

IMG_0626

IMG_0627

IMG_0628

IMG_0630

IMG_0631

IMG_0632

IMG_0633

IMG_0634

IMG_0635

IMG_0636

IMG_0637

Sandro Miller Interview

Jonathan Blaustein: Given the thickness of your Chicago accent, and the plethora of sports photos on your website, I have to ask… what do you think about Derrick Rose’s game-winning shot the other night?

Sandro Miller: The shot was absolutely, off-the-charts amazing. But unfortunately, the man down in Cleveland, Lebron James, answered right back yesterday. With the exact same shot, but from the side.

Both shots were amazing, but Derrick’s was just off-the-charts. He’s a killer basketball player. What I loved most about it was when he got into the arms of (Joachim) Noah, and there was no smile on his face, and he looked at the crowd and goes, “If you had any question if I was back, there you go.”

JB: Right. And he’s a local boy, isn’t he?

SM: Oh yeah, he’s local. He’s a Chicago boy. A South Side boy. He’s a really good kid. His Mom did a good job bringing those boys up in a very, very, very difficult neighborhood.

JB: Not only did he come up hard, but he lost essentially 3 seasons to injuries. You guys must be rooting for this dude on an almost-unprecedented level.

SM: You know, I think everyone in the league is. Even the other players are. He had three almost-career-ending injuries, so to see a kid like this, who plays the game so well, with so much honor… to see his career almost taken away, if you’re a basketball fan, you were rooting for D Rose to come back.

JB: And yet, when Lebron hit that shot yesterday, I imagine there might have been quite a few people choking on their Polish sausage sandwiches around the city.

SM: Arrgh. I was sitting here with my wife’s Mom, and all of her sisters, who are Moms. We had a big Mother’s Day feast over here, and when Lebron hit that shot, we just couldn’t believe it. But anytime Lebron gets the ball in his hand, you give him the rock, and he’s going to do something with it.

He’s the best in the game. And anything is possible.

JB: We’re talking about Chicago, and basketball, and everyone rooting for Derrick Rose.

SM: Yeah.

JB: We’re talking about Lebron being the best. And, I bet you’re more familiar with Michael Jordan than I am. But this weekend, my sister-in-law was in town, and randomly asked if I thought there would ever be another athlete with the sort of dominating presence and cultural import that Michael Jordan had, back in the 90’s.

What do you think? Could there ever be another phenomenon like Michael Jordan?

SM: I worked with Michael a lot, back in the day. In fact, ESPN magazine had an issue that came out, a 12 page spread, and it was all about how much I had shot Michael Jordan, and these great pictures I had done.

I worked with Michael really closely, and he was first class in every way he presented himself. On the court and off the court. Michael was the essence of perfection in everything he did. There will never be anyone as competitive as Michael. He hated to lose. There was something in his blood.

Michael would beat an 8 year old kid in ping pong, just because he couldn’t stand to lose.

JB: (laughing) He’s trash an 8 year old kid? I love it.

SM: He would. His competitiveness was beyond, beyond, beyond. I don’t know if there’s ever going to be another Michael, but does there need to be?

JB: I’ve learned, over the years, that when you talk to people from Chicago, and you bring up Rahm Emmanuel, that he’s not a very popular figure. Could Michael Jordan be the Mayor of Chicago?

SM: Michael Jordan, in 1995-6, could have run for President and won. Could he run for Mayor today? (pause) No. Michael’s absent from Chicago. It’s a known fact he’s no longer a Chicagoan. He spends very little time here. You don’t see him at a Bulls game, at a playoff game.

Michael’s gone through some changes. He’s bitter about the NBA, and he’s bitter about Chicago. About how he was treated. So today, no, he couldn’t.

But Rahm is the boss man. You don’t run Chicago with kid gloves. You’ve got to have an iron fist. I don’t know if you heard, but Spike Lee is coming to town to make a movie called “Chiraq.”

JB: I didn’t hear that.

SM: Yeah, he’s comparing Chicago to Iraq. We’ve got a huge, huge gang problem here, and there are a lot of killings. Most of it is not in the news, it’s completely overlooked. We’ve got SWAT in town, and almost an army-load of police watching what’s going on in Chicago’s South Side and West Side.

It’s do or die. Spike Lee is going to put out a powerful message, and Rahm was against the name of the film. It’s pretty embarrassing, when you’re known as Chiraq. But I think Rahm’s doing a good job. He was just re-elected, and as with any Mayor, he’s done some things that aren’t popular.

But we’ve got 4 or 5 films being shot in Chicago right now, and we’ve got a lot of TV series too. There’s a lot of different things he’s doing that are really good for Chicago. And it’s an extremely clean city for its size.

George Lucas is doing a museum here. It’s a great place of culture. We’ve got something like 50 million tourists coming in each year now, because it’s got pizzazz. And great restaurants.

JB: Well, that’s the reaction I was expecting. Rahm is an Obama guy, and most people I talk to are fans of Obama. But whenever I asked Chicagoans about Rahm, they really hated him.

SM: I don’t know if they hate him. He’s a tough, badass guy. He wasn’t very popular when he closed down about 14 schools, but in the long run, it really was a good decision. They were only 1/3 full, and in terrible running condition. When you’re in a position like that, you have to make some really tough decisions.

I wouldn’t invite him for dinner…

JB: You have standards.

SM: Yeah. But he’s got a job to do, and it’s a big job. Filling Mayor Daley’s shoes wasn’t an easy thing to do, and Mayor Daley made a bunch of mistakes.

It’s a tough job, running Chicago. It’s not an easy city.

JB: Fair enough. But this is not a podcast, so only I get to hear the purity of your Chicago accent.

SM: (laughing)

JB: That’s why we had to start with Chicago. But since we did, maybe we can pivot to photography. We’ll start at the beginning. How did you get into photography? Where did the bug come from?

SM: When I was about 16 years old, I picked up a copy of “American Photography” for the first time. I’m sure there was something very interesting on the cover, that made me pick up the issue, and I ran across two portraits by Irving Penn. I didn’t know who he was.

I saw a portrait of Picasso, and the French theater actress Celeste. Those two portraits changed my life. They were bold, gutsy, and very dramatic. There was a rawness to them.

I hadn’t heard of any of those three people, but two days later, I knew everything about all three of them, because the photographs were so powerful, they made me want to know more. That’s what a powerful portrait does: it stops you, it begs for you to ask questions, and you go research and you figure it out.

JB: After those few days, you thought, “This is what I want to do with my life?”

SM: No, it was after I saw those two portraits. I knew, sitting there on my bed. I didn’t have to do the research.

JB: OK.

SM: I already knew.

JB: That was that.

SM: I knew that I wanted to create great, great portraits. I wanted to photograph and document people: to surround my life with people who were important, and had something to offer to the world.

With that said, some of my greatest portraits have been of people that are normal. People outside of my studio door that are so interesting, I need to put them in front of my camera.

JB: One minute, your life was on one trajectory, then you see a couple of photographs, and it changes the course of your life.

SM: I came from a small immigrant family. My mother came over on the boat. I was raised by a single mom from Italy, and she had very little education, so education was not on the top of our list.

We were what most people would consider poor back then. So there wasn’t that big push for a college education, and there was no culture in our home. So it was a huge fluke that I would become this internationally world-renowned photographer.

It wasn’t in the cards. We didn’t have the money to send me to the big photography schools, so I had to become self-taught. It’s kind of miraculous that I am where I am, coming where I came from.

I think that when one has something that moves them, that moves their heart, and they become passionate, you can do anything. I was ready to do whatever it would take to become a great photographer.

JB: So what did you do? I imagine the first move would be to get your hands on a camera.

SM: Yeah. It was a few months later that I bought a used Nikon F film camera, and I took a course in high school. Learning the basics. I had no idea what composition meant. Decisive moment. Contrast. It was all so foreign to me.

I learned from the bottom. But I started to collect photography books at 16, and today, I have close to 800. It was those books
that have become my education. The pictures became ingrained in my head.

I did a couple of semesters at a community college, and then got a job with a photographer, when I was 18. I worked for other photographers for about 5 years, and then I opened my own studio. That’s where it all began.

I started with small accounts of mostly catalogue work. 90% of it was product related. But I was taking pictures, and making money. I gave up a lot to become what I’ve become, because it’s not an 8-hour-a-day job.

It’s every single minute of your life, if you want to become great. I can’t tell you how many dates, how many concerts, dinners, events, happenings that I couldn’t make because I was working.

My work always came first. Besides my family, my work always came first.

JB: It takes a lot to push to the top. The athletes we talked about at the beginning are no different. That’s how you got here. But what about now? Where do you turn for inspiration?

SM: My inspiration still comes from books, magazines, poems, theater, music. Children’s drawings. It comes from everything in the world, because I walk with my eyes wide open. I look, and I take in everything: the way people wear their clothes, or their hair.

My mind is like a train, and there are so many projects that I’m working on, or are going to work on. It’s almost a slight, slight illness. It’s an addiction. I’m grateful for it, because it makes me who I am today.

If I wanted, there would be no stopping me until I was dead. But I have other things I’d like to do in my life, so I don’t know that photography will carry through to the end. I’m sure it will in some aspect, but there are other things I’d like to do with my life.

JB: Like what?

SM: Well, I would absolutely love to paint, and this is going to sound strange in an interview like this, but I love to golf. Writing poetry, and creating artwork is going to become important for me. Something creative will always be close to me, and I’m sure photography will always be the nucleus.

JB: How does one come to have a muse like John Malkovich?

SM: I started shooting John about 17 years ago, when he was an ensemble member at the great Steppenwolf Theater. I got a call to photograph the ensemble team to start working on their ad campaigns, playbills and marquees, and I’m still working with them today.

Along with John, they had Joan Allen, John Mahoney, Gary Sinise, and Martha Plimpton. The list just goes on. They’ve all been in big films.

JB: Sure.

SM: It was probably the greatest ensemble of any theater company in the world. The first time I got the call about John, I just couldn’t believe it. I’d always wanted to photograph Malkovich.

I was really prepared for John, because I always do my homework. I set up the shots, and everything was perfected. And no matter who you are, I treat everyone the same, and that’s with a tremendous amount of respect.

John came in, and I was who I am. Just very respectful. We chatted for a half an hour, and then went into our photo session. He loved the way I worked and presented myself. He understood that I really got the light.

He loved what we did together, as they were extremely powerful black and white shots. We walked out of there with a deep mutual respect. Over the years, John spent a lot of time in Chicago, and when he’d come in, we’d get together for another photo session.

He became my white piece of canvas. He became my muse.

JB: That’s crazy.

SM: Over the 17 years, John has never once said “No, I don’t like that idea, Sandro. I don’t want to participate.” Never once. He has gone with whatever I’ve asked him to do, sometimes with very little explanation of what I was thinking about. He’d sit down, listen to the idea, and then say “OK, let’s do it.”

All together, we’ve produced about 110 portraits, and had a grand time doing it.

The latest idea was my homage to the master photographers, called “Malkovich, Malkovich, Malkovich: Homage to the Masters.” What happened was, about 3.5 years ago, I came down with a Stage 4 cancer. It was very much on the edge whether I was going to make it or not.

JB: Oh my god. I had no idea.

SM: I had a lot of time to think about my career, my past and my future. There was a point where I began to think, why did I make it to where I’m at today? Where did it come from? Was it one certain person? It came to me that it was the great photographers of the past, the iconic images from the masters that would make my knees buckle.

That’s why I am who I am. I wanted to be great enough to make images that did the same things to other people what these images are doing to me.

So I picked the 40 images that moved me more than anything in the world, and I went to Malkovich with a selection of those. I got on an airplane, went to the South of France, where John lives, and he loved the idea. I could see his head was turning, because this was perfect. He’s a theater guy. He becomes other people all the time.

This was going to be his greatest challenge. Becoming Marilyn Monroe. Dorothea Lange’s migrant mother. Bette Davis. Alfred Hitchcock. Warhol. Capote. Hemingway.

The idea is very powerful. And we both knew that we had to do this to perfection. Because, done incorrectly, it could have become a laughingstock. We both knew it.

JB: It’s interesting, because you’re talking about it in an earnest, straightforward, serious way…

SM: Yeah.

JB: …but the photographs themselves are almost the height of absurdity, because you played it so straight. Many of them are hilarious in their shockingness.

SM: Yes.

JB: But you’re not talking about this project as having had that kind of motivation?

SM: It was never to be a humorous project.

JB: It was NOT?

SM: No.

JB: You don’t see the humor in it?

SM: Yeah. How can you not, in seeing John Malkovich play Marilyn Monroe? I get that.

JB: OK.

SM: And I don’t mind that it brings a smile to your face, or a giggle to your heart. But it wasn’t meant for people to bust out laughing. It wasn’t a comedy.

It was a serious thank you. “You guys are the greatest photographers, my Joe Dimaggios, my Babe Ruths, and thank you for what you did. I wish I could have done what you guys have done. Thank you.”

It had to be done with such seriousness, every single detail had to be perfect.

JB: Right.

SM: Otherwise, it wasn’t going to work.

JB: Sure. I just went back and re-watched the scene on Youtube, just to remind myself, but the title of the project, “Malkovich, Malkovich, Malkovich” comes from the Spike Jonze movie “Being John Malkovich.” The scene where he gets inside his own head, because other people have been getting inside his head. Just a classic.

SM: I thought very little about that film when I did this project with John. For me, it was so natural to use John. There was never a doubt about who I’d work with.

I love the film. Don’t get me wrong.

JB: Such a good movie.

SM: That film never crossed my mind. It wasn’t about the film. It was nothing more than to say thank you to the masters.

JB: But the success comes back to your muse relationship. People love this stuff.

SM: There’s no question the stars have aligned perfectly. The fact that I met him 17 years ago. The fact that it was John Malkovich, and not Sean Penn.

JB: (laughing)

SM: Other than John, I think Sean Penn could have pulled it off.

JB: That’s hilarious. Can you imagine Sean Penn as the Arbus twins? That’s awesome.

SM: (laughing) It’s impossible. But all the stars aligned. I can’t overlook John’s generosity of the time and the willingness to do this project.

When I look back on the time, the effort, the research. The perfection I had asked from every single person. The cost of recreating it. And while I was getting sicker than a dog, while we were shooting it. I had put every ounce of energy, everything that Sandro had left in him went into that project.

At first, people said, “Ah, you did it all on the computer.” No it wasn’t done on the computer. That’s the ignorance of so many of the younger photographers. They think everything’s done on the computer.

Well, I’m old school. We do it the right way. In camera.

JB: You’re not just old school. You’re old school, and you’re from Chicago.

SM: You got it. (laughing) You got it.

JB: I’ve never done an interview with someone who mentioned in passing that they had been that ill with cancer. Are you OK?

SM: Yeah. I’m fine now. I had a Stage 4 neck and throat cancer. I was never a smoker. Never a big drinker. It’s just so odd that some of the healthiest people get sick. Cancer doesn’t discriminate. You have that cell or that gene in your body, and it finds some place to land, and does its damage.

It was tough. It was a really hard-core part of my life, and thank god my wife is very, very strong, and willing to do whatever it took to nurture me, and make sure I ate. What happens with neck and throat cancer is you just stop eating, because of the pain.

It’s one of those cancers that a lot of people don’t make it through. But I was very fortunate. I wasn’t ready. I gave everything. I never thought for a minute that I was going to die. It never crossed my mind, because I didn’t believe it was my time.

But sometimes, reality, and what we believe are two different things.

It changed the way I thought about a lot of things in my life. How much I give to my work. At one time, it was what consumed me, but as I said, I always found time for my family.

JB: You’re in remission? You’re going to be all right?

SM: It’s been three years now that the cancer is gone. I believe they say remission is after five years, if it’s completely gone. I’m sure you don’t hear me back here, but I’m drinking tons of water. What happens is you lose all of your saliva glands, so you’re constantly dry. I have to drink a ton of water.

You lose your taste buds. I lost almost 100% of my hearing in my left ear, because of the radiation. You have to treat it very aggressively, because you don’t want it to spread. You want to get it that first time. If it recurs, your chances of making it through that are slim.

JB: Understood.

SM: I saw my mother go through cancer, and she did it with such grace. I tried to follow the way my mother was, and not make everything about me, and my illness, but to make it about good things in life.

It was the biggest challenge of my life. In the end, what came out of it was all worth it for me. How I see my life, my work, my family. How I love every minute that I have here.

You’re never sure that it’s gone forever. It’s always in the back of your mind. Little things that happen in your body, and I think, Uh oh, it’s back.

It changes your life.

JB: It certainly explains the desire to play golf. I’ll say that much.

SM: (laughing) You’re so right. That’s exactly why there’s this strong desire to play golf. The golf course is a beautiful place. It’s always on some pretty gorgeous property. Out in the woods.

JB: It’s quiet.

SM: Watching birds or squirrels. Watching the deer run across the course. There’s just something about it. It’s very spiritual.

I’ve always been a very spiritual man. But now it’s probably become much more important in life. To see the little things that are so beautiful.

JB: Have you ever been to Santa Fe?

SM: Years ago, I did a little trip out West, and I stopped into Santa Fe. I was really moved by the mountains. The color of the Earth, and how beautiful it was. In the back of my mind, I thought that I would partially move out that way some day.

I’m leaving this Wednesday to head out to Palm Springs, which I know is not REAL close to Santa Fe.

JB: What’s a thousand miles between friends. Right, Sandro?

SM: Exactly. My wife and I both ride motorcycles, so we’re looking for a place to do more riding. Play golf. Still do photography, but live in a part of the country where there’s a whole different type of spirituality.

JB: That’s why I brought it up. We’re famous for it.

SM: Yeah.

JB: This interview being sponsored by my friends at the Santa Fe Workshops. You’re going to be teaching a workshop there this summer?

SM: I am, and I’m very excited about it. It’s a lighting workshop. For 40 years, I’ve been working on lighting, and I think the Malkovich piece will show how I understand light, because I recreated the light of some 37 or 38 photographs.

Light is so important to creating an iconic image. I have so many different ways of lighting. If someone walks into my studio, I have an idea of how I want to light them, and in 10 minutes, it could change 180 degrees from how I end up lighting them.

So many people, when they look at their photographs, they don’t have any idea about lighting. So I’m hoping that I’m going to be able to take small, tight group and be very hands on with them, and share every bit of knowledge that I have about light.

We’ll bring it to another level.

JB: Most long-time photographers will say it takes a lifetime to understand light. The knowledge comes from experience, and comparison. And the light here in Northern New Mexico is pretty spectacular.

SM: Right.

JB: How does one go about imparting your experience to others? How do you condense things that took you years to learn into a workshop? What’s your strategy for that.

SM: I’ll be bringing in 400 of my images to share with them, and a lot of books from my collection. I think I need to introduce people to other types of lighting, and that will get their curiosities going.

Each day, we’ll be working with different models. I’m going to pull out my bag of tricks, and show people 10 or 20 different ways to light people. I’ll show them contemporary light, and classic light.

We’ll talk about why I choose to use certain lights at certain times. I’m going to bring in 40 years of knowledge and share it over a 5 day period. I’m sure the people will walk away with a tremendous amount of knowledge.

Even if they walk away with 2 or 3 really great ideas for them to like, that’s 10 years of my life that they’re going to walk away with.

JB: Are you planning on doing anything exterior?

SM: Absolutely. We’ll see if they’re ready to get up at 4am, or if they’re going to be shooting those portraits at 9 or 10 at night. We’ll see how passionate these guys are.

JB: (laughing)

SM: (laughing) I can go 14 hours a day if I have to.

JB: I’m glad we’re talking about this. You hear that, people? If you’re thinking about it, you better bring your A game.

Sandro01

Sandro02

Sandro03

Sandro04

Sandro05

Sandro06

Sandro07

Sandro08

Sandro09

Sandro10

SFPW_APhotoEditor_Jan2015