Self analysis

You know how it is you have a great idea, maybe for a shot, a story, a project or now even a post and then someone fuckin beats you to it. What do you do ? Continue ? Give Up ? Or just jump on in anyways and see where you end up.

This happens to me often these days in the blogosphere and as I was reminded recently by this post here from the Ground Glass herself Cara Phillips this happens a lot in ones photographic endeavours too.

Thats the thing isn't it if you got an idea run with it, get on it, don't think about it too much and nurture it to the point of exhaustion before you even get around to its execution. Someone will probably beat you to the punch.

So there I am as usual over at APE and wouldn't you know it beaten to another potentialy ground breaking post here. I was recently asked by a possible new rep to describe my work in 5 words and then to do it in 3. MMMMMM interesting, kind of like one of those corporate challenges, would make an interesting post me thinks, let me think about that, maybe I would get some reader comments. Only thing is at the time I was trying to construct a sentence and not thinking tags.

My answer to the question was that I like to think of my pictures as "making ordinary unordinary " nice and compact 3 words, subtle I know but it is how I feel, particularly of my editorial work where it is mostly a case of "making something out of nothing" there you go 5 words. Anyways maybe if I had access to the APE tags prior I may have been more self insigthful:

color * yes
black & white * sometimes

film * yes
digital * when required

available light * occasionally
lit * all the time
heavily lit * when needed
over lit * when I fuck up

large format * no
medium format * yes
35mm * digital
holga/junk * when Jamaican customs confiscates my gear

shoots men * yes
shoots women * yes
shoots children * yes

studio * a rare treat
location * most of the time

portrait * yes
photojournalist * sort of well I am a bonefide photoj award winner
fashion * would be nice from time to time, some cool Euro mag
beauty * I don't think so although I could pull beauty dish out my . . . .
still life * yeah on camera flash baby
fine art * dabbling
advertising * not enough
outdoor * all weathers
automotive * licensed
food * yes please, not pretty but tasty
interior * converging lines
sports * no live action
conceptual * I can bring the funk and the noise

travel and leisure-e * only with my flash on
urban * I live in the city
gritty * from time to time
nike * I wish
high production value * I am a money saver
low production value * yes
slick * no
raw * processed
grainy * never
saturated * (over) I hope not
captured moment * my forte
americana * I travel around
weird * funny
stark * no
quirky * the one word most used to describe me and my work
props * I can bring a bag of tricks
lyrical * no
painterly * some may say
high contrast * only when I fuck up
naked * I wish
cool * I wish too
off moment * yes I likey
awkward * I try to make my subjects
muted color * no
crunchy (super sharp) * no
great casting * when required
tight * loose
landscape * I do
action * only when really necessary
sets * yes but unconstructed
real people * most of the time
models * over 18 please
trashy * no
heroin chic * Davide Sorrenti RIP
vintage * not my thing

webberie * assisted Webber alumn and it didn't rub off
annieish * no
assisted for annie * no but know people who did, does that count ?
lachapelleish * in my early days
egglestonish * when he is using the flash
dan winters on peyote * when all else fails
meisel’s brother from another mother * a dream in my fashtacular career

And from the comments:

Ninja * leave it to Chase Jarvis
Ghost * no

gimmicky * sometimes
kitschy * on the odd occasion
Lord-of-the-Rings-y (overly digitally processed so people look like video game characters) * not a chance

Platonish * I don't use the portrait lens

natural * I hope
fussy * no
unstyled * yes
overstyled * no
spontaneous * yes please
sluggish * not anymore now that I just lost 20lbs
energetic * yes now that I am lighter
vibrant * yes
clever * aha I try to be

Fiscusy * not me

Annie Von Pelle * don't know her

cinematic * no
snapshotty (as opposed to snap-shoddy) * yes but with medium format
faux-testino * no
mini-terry * no cock but occasional bull

film noir * technicolor

square * yes I am

street * I can go there

bad * cannot always be great

awful * rarely I hope
contrived * when I get stuck
convinced * I hope you are
not convinced * I hope you are not
lame * no
spiteful * not a spiteful bone

crappy * when all else fails

man hands * small hands

can shoot anything * almost
haute-shit * not smart enough

So after all that I guess I am a color photographer who can do a little black and white while shooting digital film, all the time using lights with my Hasselblad, although I save the snap camera for a matter of last resort when shooting portraits of men, women and children in the studio but mostly on location all the while recording the happenings in a photo journalistic style and documenting any haphazard still life in a fine art vain as I try to translate it all into big advertising campaigns no matter how shitty the weather conditions as long as I can drive and eat good food and stay at amazing places while exercising physically and engaging my mind conceptually, traveling to cities like Portland on a cheap ticket, having spontaneous adventures as I encounter the weird and quirky awkwardness of America while being open and loose to meeting cool interesting good looking people over 18 doing stuff in the countryside and making things but with a penchant for Abercrombie and Fitch and red eyed celebrities blinded by the ring flash in Memphis or Austin while being illusive but yet encouraging synergy through the martial arts with gimmickry; shot through the fish eye yet remaining natural and unstyled in a spontaneous, energetic, vibrant square world where the clever street snapper is far from crap but is convincing because of a strong hand shake.

Makes sense to me anyways I guess I cannot shoot it all after all sorry AVS.

Parr on the move ?

Photo © Martin Parr

Martin Parr has signed on with Bill Charles Represents based here in New York and also in London. This doesn't mean he will be giving up on Magnum but looks like he is keen to land some more commercial assignments which I am assuming Bill will be chasing down more of on his behalf. Not that Parr hasn't been doing too bad on the ad front already this year with gigs for Mavi, Paul Smith and Louis Vuitton. Doesn't this man have enough on his plate already ? Obviously not !

Parr joins an eclectic mix of top line shooters at his new digs. Its a real who's who; straddling all genres. The line up includes the likes of; Sasha Bezzubov, Mitch Epstein, Larry Fink, Kyoko Hamada, Nadav Kander (UK and Europe excluding France), Jean-Pierre Khazem, Antonin Kratochvil, Jeff Mermelstein, Bill Owens, Frederike Helwig, Stephen Shore, Sage Sohier, Larry Sultan and Massimo Vitali to name a few.

Out and about

Chelsea was a veritable zoo last night as a swarm descended on area galleries to take in a beautiful September evening, free booze, beautiful people watching oh and of course the real reason we were all there ? the art and photography. To say the streets were hoppin would be an understatement.

First stop for me was the Alen MacWeeney show. Much as I had expected to be honest with most of the images available for preview on the gallery website here. But some of the prints were exquisite; well worth an up close and personal look. There were also some breathtaking colour prints from MacWeeneys 1990 monograph 'Bloomsbury Reflections' on display and there were signed copies of the out of print book for sale. All in all my travelling party, Mr & Mrs Arun Kuplas and Mr & Mrs Ber Murphy agreed the munchies were most tasty, who makes those exotic tortilla chips ? Alen / Steven ? Spotted in the crowd were photographers Marc Asnin and Dietmar Busse.

Photo © Kohei Yoshiyuki

Next up was the hotly anticipated Kohei Yoshiyuki show 'The Park' at Yossi Milo. The gallery was packed to bursting and it was hard to get a good look see at the pictures themselves but apparently the artist was somewhere in the crowd signing the accompanying book. I was informed the print run has been limited to 1,000 copies so you might want to get your order in fast. I did not get a copy but friend and 'Inspirator' Eric McNatt snapped up one for his collection. Also spotted were Jennifer Pastore from the New York Times T Magazine, Jenny Burgos of ace scanning house Sugarhill Works, Dietmar Busse (again) and man about town Rafael Fuchs.

Photo © Danziger Projects

Then it was a quick hop skip and a jump to Danziger Projects for Andy Freeberg's 'Sentry' show. To be quiet honest I really wasn't enamoured by the narrow gallery space; okay it was busy and thats good but it was hot, hot, hot so we didn't last long but I did like the photographs and managed to grab a couple of extra mini Budweiser cans for the onward journey.


Finally we headed one block further north to the Aperture Foundation Gallery for the Lisette Model show. The place was buzzing but there was still plenty of room to move around and enjoy the huge and varied volume of work on display. A well stocked bar helped keep all happy and the end of the evening came very much like closing time down the pub with flashing house lights and I swear I could hear the bartender calls to kindly finish up ladies and gents, its gone waaaaaaaaaay past the time. Spotted here were Kellie McLaughlin (formerly of Retna now at Aperture), Rafael Fuchs (again), Eric McNatt, artist Dominic Albo, Christopher McLallen, Karl Doyle, the always entertaining Lauren Fleishman and boyfriend Scott Rudd and the papa bear himself Bruce Weber with partner Nan Bush buying up the Aperture bookstore. All in all a most enjoyable evening was had by all.

Magazine under review . . . . W 09/07

Weighing in at a mighty 4.5 pounds and 640 pages the September issue of W is certainly a door stopper. The cover girl, Gwyneth 'I made you look, didn't think it was me did you ?' Paltrow comes courtesy of Steven Klein who continues his treatment on the inside, see more here. I have been trying to put my finger on who she looks like in these photos et volia she reminds me of the young Cybil Shepard ala The Last Picture Show.

Its chock a block full of ads up front and gradually gives way to more meaningful fair. Though its 299 pages before you get to the letter from the editors. Most of the pictures run pretty small in the front of book, a usual W trait. There is however a fantastic but intense full page portrait of Jodie Foster by Collier Schorr that really stands out.

Photo © Mert & Marcus

The well is heavy on the fashion with heavyweights Mert and Marcus, Craig McDean and Mario Sorrenti all contributing in their own inimitable styles. Although the one story that really caught my eye came courtesy of 'the Master' Juergen Teller, see here and here.

I wasn't going to go much further then this in reviewing the issue when I was thinking on Sunday what I was going to post this week, but on the back of Jeff Singers comment here on yesterdays post I guess it would be wrong not to expand a little on Teller and his shoot. Although I did give him a mention here last week.

Richardson V Teller, Terry V Juergen, America V Germany, Popculture V Eurostyle, White trash V Aristocracy, Hot dog V Bratwurst ? It's all about who's got the bigger sausage isn't it ? I haven't spent much time studying and comparing their personal assets but I admire both of these photographers immensely. To me Teller is the more sophisticated of the two, although both are practitioners of the point and shoot aesthetic he brings that European cool to his imagery. Like Terry he could be considered a one trick pony but he is so much more then that. His pictures are always engaging and he constantly manages to push the limit. Don't get me wrong I don't love everything these two do, if I had to favor one though I think Teller would be ahead by a nose.

Photos © Juergen Teller

I really like the fashion story Juergen has in W. It is quite an eye opener and really stands out amongst the other, more polished spreads which all feature young flawless models. This time out he gives Laura Dern his personal attention in 'Fashion Party' where she plays the Lady of the Manor adorned in tailored coats and shining evening numbers. Remember you can't judge the merits of a fashion story the same way as a portrait or reportage feature. Its supposed to be about the clothes and there is always a concept, no matter how obscure and irrelevant it may seem to the outsider but to the insider this is the backbone of the story.

'I depend heavily on the models personality; at least I wanted to depend on this because I'm interested in personal reactions' Teller (2002)

The idea is pretty obvious in this one and Dern certainly seems to have embraced her role. Its not a beauty story and while the pictures are for the most part extremely unflattering they are exquisite in their own right. While I don't think each shot is a masterpiece as a complete story it terrific, backed up by a strong layout. This is where W excels, while they might be a little stingy up the front of the book they give all the pictures the room they need here. I cannot imagine that Laura did not know what she was getting herself into. She has brought her skill set to the part, and turns in an enthralling performance. Its all make believe anyways, fashion fantasy, although I feel that these pictures (like alot of Tellers fashion work) would stand up on their own as individual portraits, they have an unnerving reality. I think these are the type of fashion photographs I like best, where they blur the line between the fantasy and reality.

Not one to just rant on on with my rantings I sought out a little professional help in analyzing this story a little further. I consulted with friend and super talented stylist Jennifer Hitzges to give greater insight on the shoot from the other perspective, heres her take on it and not a mention of an f-stop or filter to be found.

'I love it, it is a story about facade, how the wealthy have to keep up appearances and look good for the neighbors on the outside but lead a pretty nutty existence when they are on their own playing dress up in the big house. In some shots she is so composed and picture ready on the surface then in others she is indulging her need to be a child

The girl (her daughter ?) is just trying to fit in like her mother, trying to find her place in society she is younger and prettier but no less insecure and lonely, she probably needs anxiety pills to get herself out the door to face society

The final shot where she wears the blue coat reminds me of Anette Benning in American Beauty she looks like she is covering this unhappiness'

I wasn't thinking in these conceptual terms and looking for higher meaning. I like what I like and these pictures I likey.

An answer to a question ?

Photographs © Terry Richardson

Hey Andrew,

I have a question. What makes Terry Richardson Terry Richardson?
I am not speaking about his persona, mainly his photographs.

I started asking more questions and then started answering them myself so I guess I'll ask it this way. Why do you like Terry Richardson and why do you think he is hired for what he is hired to do?

Above courtesy of Sherman in response to Fridays post here, my thoughts follow below.

I like Terry Richardson's photographs, I like Terry ! There I have said it. I think he is one of those photographers that you can either take or leave, you either love him or hate him. Terry has been a fixture on the photographic scene for sometime now, and his influence is pretty far reaching. See his Flickr group here.

I have always had a soft spot for the point and shoot aesthetic. In my own pictures I try to have that spontaneity and freedom both in concept and execution although I choose to use a medium format camera, I like a little quality and clarity. Taking the snapshot genre and Terryizing it Richardson has honed his art over the years and has in doing so become more then just a photographer, he is a brand, a corporation if you will, he being the Chairman, figurehead, spokesperson and sometime model. He is obviously a smart businessman who's shock and awe tactics haven't scared away commercial clientele. I think his persona is intertwined within all his photographs as it should be for all of us, although he does chose to feature himself (and his dangly bits) whenever opportunity arises.

Terry has cashed his notoriety in big time and there is more to his repertoire then mere tit n' ass. His list of advertising clients is impressive and he is smart enough to put down the T4 when the situation demands. His resume includes clients like Gucci, Levi's, Miu Miu, Tommy Hilfiger, Club Monaco, Supreme, Hugo Boss, Stussy, Baby Phat, Jigsaw, Costume National, Hysteric Glamour and Sisley. See his latest campaign for Japanese retailer Uniqlo here. His editorial fashion work is multi faceted and there is often more to it technically and conceptually then anyone who is unfamiliar with this aspect of his work may give him credit for. Please go here to see a sampling.

Perhaps the true genius of Terrys talents is not only that he can seemingly manage to prise anyone, male or female from their clothes but that he has constantly produced signature imagery no matter what the genre, personal, editorial, fashion, advertising etc. This is particularly impressive considering the depth and breath of his celebrity portfolio. In a day and age when the Hollywood PR agent has more power then even the stars themselves and are only too quick to veto a photographer or idea that they feel may shed their prized clients in a negative light, it always amazes me how Terry manages to get his victims to do what they do for him. As any photographer who has been put in this nerve wracking position will a test half the battle is gaining some trust and developing a relationship however fleeting that will in turn lead to some sort of mutually creative collaboration. Lets face it Terry's got a reputation and brings his own star power, that counts for a lot, people are willing to give more and obviously trust him to portray them in a cool interesting way. But still you can't help but wonder was Terry told in advance of his Vibe Obama cover to keep everything PG-13 or to go for it and see what happens. Not that Barack would have been itching to get his kit off, but you wonder what the reaction of his people were when they heard Terry was on the way !

Terry is certainly a fixture of the New York scene and can often be caught wandering around the lower East side. I have always liked the humor and irony in his work, perhaps this is why I am personally drawn to it more then the work of other point and shoot practitioners Ryan McGinley and Wolfgang Tillmans. Although I think we have all seen Terry's dick plenty enough already and I am not particularly keen to see another tooth brush out the bum or certain toilet bowl stylings.

5B4 recently reviewed Terryworld below, it is really funny made me laugh as I am sure it would Terry, can't help but think that he doesn't take himself too seriously, life's too short as they say, maybe he is having the laugh on us ?

Terry Richardson has a book called Terryworld!
Terry Richardson has a cock!
Terry likes his cock!
Terry likes to photograph his cock and other cocks!
Terry likes to have sex!
Terry has lots of sex!
Life is hilarious!
Terry’s life is great!
Live fast, Die young! (for Darby)
My friends are fuckin’ cool!
There are no consequences to our behavior!
My cat’s ass is hilarious!
My girlfriend is so cute!
Last night she held a cookie that read “eat me” over her vagina! (Terry took a photo)
My list of friends includes famous people!
Kate Moss is a friend of mine!
Middle America is fuckin’ hilarious!
That girl’s tits are fantastic!
I drew a watch face on my cock and wrapped it around my wrist! (Terry took a photo)
Beastiality is shocking…but very funny!
The 2000’s are the new 1970’s!
Your life is boring!
Terry photographed a werewolf in a wax museum. It was so fake!
My parents are to blame!
My best friend made out with a tranny!
I never got back at my tormentors from high school!
This is low art!
Terry had the guy shit in the cat’s box!
She blew me with a bag over her head!
I desperately miss being young!
Vincent Gallo looks exactly like Jesus Christ!
We drove around ‘mooning’ everyone!
Clowns are ironic!
The American flag is ironic! (Ol’ Bob Frank taught me that)
I like teddy bears!
You’re jealous!
I’m bored!

All that being said I admire Terry's ability to being a bit of an all rounder while remaining a shrewd opportunist and staying true to his core. This is why he is hired and rehired he always brings a little magic to the plate as unexpected as it is expected, not always shocking for shock sake. The secret to this business as any is longevity and Terry has certainly managed this while always remaining relevant, to me at least anyways. As his people are keen to say 'he is a true American original'.

Oh and he looks like he is having lots of fun, here's to you Tel !

As featured in . . . . ESPN the Magazine

It has been a busy couple of months and I am now beginning to see some of the work come to fruition as printed matter. First up is ESPN the Magazine where I am fortunate enough to be heavily featured. I have been working on a 'package' for them about people who have cool jobs in sports but who don't actually play the games themselves.

The feature was split between myself and two other fine photographers Peter Yang and Misha Gravenor. I was aware that other photographers were shooting simultaneously but I did not know their names. Hard to know if it would have been a good or bad thing. I like to think I bring my A-Game no matter what but competition is always good and I am rather pleased with myself scoring the 'Opener' and 'Closer'.

The above (opener) was actually the first shoot I did. Its definitely not as subtle as the Larry Sultan pic I featured from the previous issue here, but the concept of the package was to feature the subject with one of the athlete(s) they service while creating a fun and interesting yet relevant image. So to get the ball rolling I photographed Chris Doyle the senior product development specialist at Burton Snowboards with Winter Olympic gold medal snowboarder herself Hannah Teter. It was shot on location in his workshop at the Burton HQ in Burlington, Vermont. Chris was game for anything as was Hannah. I tried a couple of different set ups before this one the last one. The editor, Maisie Todd, had requested that Hannah be photographed on Chris's desk only problem Chris didn't really have a desk, just a work bench but we made do and improvised. I think it worked well as you need a strong image to open the feature and whet the appetite.

Next up was the above spread with Yang top and Gravenor bottom.

Then me again, but where is the image ? Well you are going to have to get yourself an issue to see this one. The picture was bought out by the subject and I am not permitted use it in any form, on the web, in my portfolio, resell etc. But I can tell you about it. It features Sari Mellman a nutrition guru/counselor who has an unusual approach to healthy eating and has more then 150 star athletes as clients, including Grant Hill, Oscar de la Hoya and she is accompanied in the pic by Superbowl winning defensive end Dwight Freeney of the Indianapolis Colts. This was why the magical talents of food stylist Ed Gabriels were required see earlier post here. It was certainly an interesting day, we arrived in the night before and were at Dwights house at noon as scheduled. The concept on this one to shoot Sari and Dwight with all the food he would typically eat in a week. The list goes a little something like this.

14 lbs. Buffalo meat
14 lbs. Black Cod
1 bottle of Honey bear organic honey
6 Bundles of Bananas
4 Bunches of Green Grapes
1 lb. of Pecans
1 Bottle of Grapeseed oil
10 Bottles of Organic White Grape Fruit Juice (Lakewood)
7 Whole Watermelons
6 cans Black Beans
Rice
Bread
1 Bottle of Sari Mellman's A Little Magic-Hypoallergenic Vitamins (17 caps.
per day)
1 Bottle of Sari Mellman's DMG

We were given two hours set up time in Dwights kitchen in Carmel, Indiana followed by two hours to shoot. Plenty of time, right ! As with most shoots there is always something. In the end Dwight did not arrive till 5pm. A bit of a hassle seeing as we had gotten all the meat and fish ready for their 2pm close up, it can be tricky dealing with food it has a short shoot life. He was coming from Syracuse where he had been having some pre pre season workouts. His flight was delayed and I have to honestly say he really didn't seem in the mood by the time he got to us. But when Sari finally showed up, she was even later and we reset the set Dwights spirits changed for the better. Maybe it was my congratulating him on the new $ 72,000,000.00 contract he had just signed the week before with the Colts that really saw him seeing good and not the raw meat and fish stinking up his kitchen. I knew I wouldn't have him for long so we managed to wrap it up in 30 minutes. Got to take what you can get.

Peter Yang above x 2.

The final featured shot and perhaps the trickiest one for me involved Nascar artist Sam Bass and Petty Enterprises Nextel Cup driver Bobby Labonte. Sam designs the cars art work, on computer but he is also an artist and he paints officially sanctioned water colors of the drivers and their cars. Sam had been asked to bring some of the tools of his trade with him but unfortunately the message didn't get through and apart from arriving a little late, he came empty handed so this one shot was a real scramble. He had just driven from Charlotte to outside Greensboro so all his kit was a couple of hours back down the high way, bummer ! Although having plenty of set up time before the subjects arrived there really weren't many options, the car was the main prop but suitable spots were limited. We were relying on Sam to bring in da funk and the noise (sorry Robert I know that's your line but I laughed hard when I read it on your post here, very appropriate) but had to make do with whatever we could find last minute. Bobby was the utmost professional but he was really doing Sam a favor so the clock was never really on our side, but we got at least one usable image that didn't totally suck. Relive that weeks travel adventures here.

The above was shot as part of the previous 'package' but ended up running directly after as its own entity as a day in the life piece. This feature involved following Michael Thompson, Director of Corporate Communications for the New Orleans Hornets basketball team around on NBA draft day. Its a fun piece, I really like the opener, its semi real, he has got his wife on one phone and is waiting to do a radio interview on the other with all his notes and news in front I knew it kind of worked at the time not knowing what would be in store for the rest of the day. This shot was taken at 7.00am in his office, it was the first roll of film of what would end up being a 13 hour day. We had just arrived in to New Orleans a couple of hours before from Boston due to plane delay, delay, delays, read the recap of the week here.

All in all I am very satisfied with the results, a lot of work for each picture, but each one rewarding in its own way and every one a new life experience personally and professionally. Oh and I thought I would leave all the advertising in just as it appears in the magazine next to the pictures, its a real battle on the eyes sometimes. Come on Big Red give me a crack at Montoya and some of those fine advertising dollars.

Collaborator . . . . . Davy Rothbart

Last weekend saw a trip to Arlington, Texas and another gig for GQ. I cannot go into too much details, doesn't look like the story will see any page time before next Spring, fuck its such a long ways away but they do like to work well in advance and the event I was covering was a once a year type of deal.

The bonus on this trip was my collaborator. Every now and again I get to work closely with a writer on a particular piece. On this occasion was I not only accompanying him I was also photographing him as he engaged in the activity he will ultimately be writing about. I have done this sort of thing quite a bit and its a real treat to finally read their written word and to experience the experience from their perspective. After all I was there so I have my own experience of their experience, how different will it be from my own ?

It worked out really well, it always nice to be there in real time that way hopefully the pictures and writing will be somehow syncopated. More often then not one has no contact with the writer and just gets the text to work off. I remember a case in point from last year. I had been commissioned by Marie Claire magazine to do a feature on the last remaining abortion clinic in the state of South Dakota which is located in Sioux Falls. The writer had been out in advance and had already put the piece together. I had a meeting with her and my editors to go over things and their needs and expectations. Anyways the way she described the physicality of the clinic building and its environs gave me (or at least I thought) a clear mental picture of what to expect. She mentioned narrow slit windows, so that snipers would not have a clear look in on potential employee targets, armed doors, bullet proof glass etc. So there I was conjuring up images of a fortress ala something from 'British Watchtowers' by Donovan Wylie. It is crazy how the mind works I had myself convinced that this was easy peasy I had the 'opener' I was onto a winner.

So there I was a week later (June 2006) in Sioux Falls. Now the weirdest thing about this whole gig is that I have a 1st cousin who lives there. He is a very successful surgeon and moved from Ireland direct some 20 years ago. We see each other from time to time but I had never made the trip his way so this was a nice bonus. You know to be honest I always thought I would get out that way on someone else's buck. Anyways I arrived on a Saturday and was scheduled to shoot in and around the clinic on Monday but before I hit the hotel I wanted to check out the clinic itself. I have to say I was really excited to see this architectural marvel, this is a pretty serious story for me, sometimes I get a little pigeonholed as the funny quirky guy ! But I like to think I can bring a little something to the plate and cannot say enough about Alix Campbell (now at In Style) and Melanie Chambers the editors I worked with on this and other pieces, they took a gamble on me ? Maybe but not really the ongoing debate I can keep ongoing.

As I was speeding through suburban Sioux Falls, I was salivating at the opportunities that would be presented photographically by the upcoming structure. Well wouldn't you know it FUCK nothing like the picture I had drawn in my minds eye. No barbed wire, no steel structures, no guards with guns, no wide open Dakota fields with storm clouds gathering on the distant horizon, the crack of thunder and lightning as the dark foreboding night gathers over the great plains, the searchlights high above the compound illuminate the shadows as umpteen security cameras keep a watchful eye over the patrolling dogs, beyond the high voltage fence a sea of protestors compete vigourouly with natures fury to have their voices heard all the time unmarked cars sped through the fortified gates . . . . see I should have been a writer. So I was obviously disappointed and worried with this pretty non-descript one story office type building.

Anyway to make a long story short everything worked out really great. I worked hard to load the bases, I had three portraits to do and they were fine but really worked the ancillary stuff in the end the portraits were mere thumbnails but were effectively used in telling then story. I was so blown away by the final layout in the magazine. The creative director at the time Paul Martinez (now at Mens Journal) had just launched a redesign and came up with a fab spread. He really elevated the whole thing, its an example of how good art direction can take your pictures to another level.

So back to GQ, I know I go on a ramble sometimes but its all somehow related isn't it ? My fine on site in the flesh collaborator on this story is a man of many hats. Introducing from Ann Arbor, Michigan, playing point guard, at 5ft 11 inches, 160 lbs (a guess) the 3-point buzza beatin "I love this game" razzle dazzlin road warrior himself, give it up for number 28, the one the only DAVY ROTHBAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAART ! Now there's a little hint as to what we were up to.

Turns out Davy is multi faceted. Among other things he is the man behind Found Magazine, a story teller (This American Life), an author, a performer, an old schooler (he recently upgraded from a walkman to a discman). We had a fab time and it was a real treat to hang with Davey, my first time, although we share some mutual photographer friends/acquaintances, more on that next week.

Here's to you Davy, thanks for having me along for the ride and don't forget what to do when the NBA come knockin on the door ! Fuckin open it and live the dream !

More Martin Parr . . . . does the man ever stop !

Photos © Martin Parr

Just when you thought there wasn't another minute in the day perenial 'Whats the Jackanory ?' favorite Martin Parr has another collaboration up his sleeve. Not only is it already completed its currently on show in Tokyo, where does he find the time ? So far this year he's done this, this and this I am sure I am only scratching the surface. Like or dislike his photography you got to give the man some props he is with out doubt one of the most prolific artists of our time.

The latest project I discovered is a hook up with ace British designer Paul Smith. 'Paul Smith @ Ilford' is a series of fashion photographs taken by Parr of people on the streets of Ilford, Essex, England wearing Paul Smiths Autumn/Winter '07 collection.

What makes this series even more remarkable is that Parr has forsaken the use of flash and some of the pictures evoke another era, perhaps 70's or 80's Britain. Did he do this on purpose ? or maybe he left the ring light on the train up by mistake ? The man never ceases to amaze and inspire.

I recently had the pleasure of meeting Martin at the 'Colour before Color' show still up at Hasted Hunt in NYC. I was a bundle of nerves as one is when meeting an idol, managed to fumble my way through 30 seconds of conversation, got him to sign my copy of 'The Last Resort' and presented him a shrink wrapped copy of my own upcoming monograph 'A Room with a View' (more on that later). There are only 4 copies of the book in existence at the moment and he has one. I wonder did he ever take the time to open it ? I am sure he did he is a stand up bloke. Hey Martin if you are reading this let me know what you thought, oh and by the way I am looking for someone to write the forward, do us a favor between all the jet setting and put pen to paper and help an editorial photographer attempting a little fine art get a bit of street cred.

Heres to you Martin Parr, your the dogs bollox !

This just in

Womens Wear Daily is reporting this morning that :

Martin Parr, whose color-drenched photos often feature unglamorous folk and fashions of dubious taste, is training his lens on luxury and chic for a change. Word has it Parr was tapped to shoot Louis Vuitton's men's campaign for fall. It is expected to break in select September fashion magazines.

Martin is no stranger to fashion and has recently been collaborating with Turkish Jeans Company Mavi on their advertising. The project culminated in the publishing of "Parrjective" a book celebrating Mavis 15th birthday and the city of its inception Istanbul.

Contender for book of the year 2007 # 5

Although it was published in 2006 I have finally just got my hands on a copy of Tierney Gearons 'Daddy, where are you ?' published by SteidlDangin (Dangin being Pascal Dangin ace retoucher to the stars and founder of Box Ltd). Although technically not a 2007 release it is new for me and I think an appropriate inclusion.

Having recently seen the documentary 'The Mother Project' go here, here and here it is a real joy to see the pictures in the printed form. I have to say the design, layout and printing, no doubt as a result of Monsieur Dangins involvement, are exceptional. The pictures are beautiful and revealing, disturbing and manipulative, staged and spontaneous, sad and joyous. Tierney is tackling some tricky personal issues with this work and may be seen by some to be exploiting her mother and her physical/mental condition but there is no denying some of the shots are priceless. 5b4 has an extensive review here.

If you missed the documentary on the telly it is being released on DVD by Zeitgeist Films in September. I saw it and was totally enthralled, it is a magical companion piece to the book. Go on treat yourself.

Desktop entrant # 5

Our fifth entry comes courtesy of the Drinking Deadman himself, John Loomis. Taken on 'The London Eye' during a recent vacation. Go here to see more of his pics from the UK.

Here's to you John Loomis ! and I will take you up on dining advice next time I hit North Carolina.

Desktop entrant # 4

The latest submission comes courtesy of fellow Reduxer and blogger Greg Ruffing.

"Industry in my home city (Cleveland, Ohio). I guess its just part of my blood. In high school I started going to this spot that overlooks this sprawling mass of steel mills, etc. Its a pretty desolate stoop at the end of a dead end street. this is just one of the dozens of photographs I have made in that are since."

Thanks Greg, here's to you !

Desktop entrant # 3

This one comes courtesy of Cameron Wittig who I featured in some of my very 1st posts here and here. Cameron says "I shot this last November in Paris with a Yashica T4 from the hill at Sacre Coeur. It's really not a photo of anything specific which is what makes it a good background picture."

Here's to you Cameron !

On a personal note I am very familiar with this part of Paris. I spent a couple of months early in my assisting career living in the neighbourhood below the famed basilica, Pigalle, home of The Moulin Rouge and the infamous touristic red-light district. I have mixed memories of this time spent working there, some good some bad.

Also great to see Cameron still using his T4. For those of you who don't know it was probably the greatest point and shoot film camera ever made. The fixed 35mm, f3.5 Carl Zeiss lens was a winner providing unrivalled sharpness and clarity. It had a durable light weight (6 ounces) weather proofed body body. In case you were wondering it was/is Terry Richardsons camera of choice. It was discontinued a few years back with the demise of Yashica. I do know some people who bought up the remnants and have them sitting @ home all brand new and boxed up. My own one crapped up a few years back and my wife was using the zoom version for some time until the switch to digital. The zoom is still being manufactured by Kyocera and is an excellent camera, featuring a 28-70mm, f4.5-8 Carl Zeiss lens. Oh and heres an old T4 blog I just stumbled on here.

Colour or color

Photo © Carlos Perez Siquier

Whatever way you spell it doesn't matter but its a pretty exciting week coming up with the Martin Parr curated show 'Colour before Color: 1970's European Color Photography' at the Hasted Hunt gallery in New York opening on June 7 and running through July 20.

There seems to be no avoiding Mr Parr, prolific is not the word his influence is inescapable and whether you like or dislike his own work you cannot begrudge his obvious passion for the art and his unique view on the world. He is not only a photographer but an author, curator, collector. I am a huge fan, surprise, and he has had a huge influence on me from the git go. Reread an earlier post here, to see how early on he had an effect.

Photo © Peter Mitchell

The show features work by Luigi Ghirri, Keld Helmer-Petersen, Peter Mitchell, Carlos Perez Siquier, Ed Van der Elsken (none of whom I am familiar with) and John Hinde (with whom I am very familiar).

Joerg 'Conscientious' Colberg has a terrific conversation with Parr about the show here and the significance of these photographers in the history of color photography.

I have touched on John Hinde a little before. Anyone growing up in Ireland or the UK in the 50's, 60's and 70's will particularly remember his bright colour saturated postcards that may seem a little twee now but were revolutionary @ the time. Hinde born in England dabbled in photography early on and after several ventures in and out of it, including owning his own circus for a short time, he settled in Ireland and turned his hand to making postcards. The wonderful book 'Our True Intent Is All For Your Delight' a collection of John Hinde's Butlins Photographs is not only magical for the pictures but for the introduction by Parr and the interviews of the 3 photographers who worked for Hinde and the studio he created. I found the text to be most illuminating and educational. I grew up in Dublin only a few miles from where Hinde first started and my uncle Michael worked on the printing presses when the company expanded from its makeshift digs in Bullock Harbor to a brand new high tech custom built facility in Cabinteely in the 60's. We always got new calenders every year, Hinde style.

By the mid 60's John Hinde Ltd. was one of the largest postcard companies in the world. His visual style was clearly obvious and although he would stop taking the photographs himself it is hard to distinguish between Hindes work and that of the three young photographers he hired and trained to shoot a certain way, his way.

Photo © John Hinde Studios

The Butlins images are a little different from those on the cards, For those of you unfamiliar with Butlins it was a holiday camp and became something of a Britsh Institution enjoying a heyday in the 60's and 70's. They had various locations across the UK and were something of a low tech Disneyland where the guests were locked in at night and were woken early to the infamous 'Wakey Wakey' breakfast call that would bellow from the camps tannoy (loudspeaker). Hinde was commissioned to photograph the camps as his hallmark bright colours were ideal for their promotion. Alot of the shots were interiors and elaborate lighting with flash was required. The interviews in the back of the book with all three photographers, Elmar Ludwig, Edmund Nagele and David Noble are fascinating and well worth the read. They explain the process of both the Butlins photographs and the postcards and share their own unique experiences on working with Hinde.

Photo © John Hinde Studios

There is little to be found of Hinde on the web. He sold the company in 1972 and all but disappeared. The Butlins pictures had such an affect on Parr (he himself had worked @ Butlins as a camp photographer) that he set about generating enthusiasm for Hindes work which eventually culminated in a retrospective show at the Irish Museum of Modern Art in Dublin in 1993. Hinde attended the show, Parr together with David Lee the shows researcher had tracked him to the Dourdogne in France. He was never that enthusiastic about the Butlins photographs it turned out and couldn't understand their significance.

"he was a populist who tried to create imagery that would have mass appeal" MP

Hinde died in 1997 @ the age of 81 and the company that bears his name is still in existence although www.johnhinde.com never seems to be working quite right, there is some additional info here.

I am very much looking forward to seeing the show. The gallery will host a discussion with Parr and a distinguished but as yet unannounced panel on June 20 from 5pm to 6pm followed by a reception.