Documentary Street Photography: Bill Cunningham New York

[JuJu]

Ive even caught him chimpin... 🙂

😱😱 He's been converted to the dark side!
I took a photo of him without knowing who he is a few years back on Governor's Island,
just thought this guy is kind of cool 😛

Bill Cunningham by JuJu~~, on Flickr

 

[Larry Kellogg]

Here is a link about Alec Soth's work with an 8x10 camera: http://6thfloor.blogs.nytimes.com/2012/07/27/the-power-of-the-8-by-10-film-camera/ Definitely check out the videos at the end. Now I want to shoot 8x10, LOL. Alec describes how he gains some distance from his subjects when he works under the dark cloth and, as a result, does not have to maintain eye contact but can look directly into their eyes on the ground glass.

I believe Paul Strand used to make a big production of fooling around under the dark cloth, making it look as if he were doing all sorts of adjustments. At some point in time, his subjects would relax, and he would get the picture he wanted.

 

[Larry Kellogg]

You may be interested in the way Avedon worked with an 8x10 for his portraits. He had assistants do all the "camera work" (changing of film holders, etc) once the image was composed. He stood next to the lens with a cable release in hand. This way he had good contact with his subject. People work differently..

http://www.richardavedon.com/#mi=1&pt=0&pi=9&p=-1&a=-1&at=-1

Very good point. I wonder if the difference in methods is related to the subjects. Avedon was photographing people many of whom were used to being photographed, while Strand was working with Mexican villagers and other people who were less comfortable in front of the camera, if I recall correctly. Just a thought.

Diane Arbus said that people knew you had an edge on them when you were holding a camera, because the camera somehow fixed them. I think that is true.

 

[Larry Kellogg]

How wonderful, Cezanne painted: "Peasant in a Blue Smock" in the 1890s. http://arthistory.about.com/od/from_exhibitions/ig/cezanne_and_beyond/cab_pma_09_07.htm I'm sure the working class connotations of the garment do not escape Bill.

 

[Larry Kellogg]

Avedon used this same technique while photographing the "public" for his personal work.

http://www.google.com/search?q=aved...QWFvoHYAQ&sqi=2&ved=0CCcQsAQ&biw=1283&bih=798

Note: Not all the photos in the above link are Avedon's or Avedon related. Google doesn't edit the phony stuff out.

I knew you were going to say that. ;-) Oh well, I suppose my argument doesn't hold up.

Never mind getting the blue smock, how does one get the domestiques to set up the camera, and hand you the cable release?

 

[Larry Kellogg]

You pay them. A good photo assistant (west coast) earns $200-500/day depending on skills.

Avedon used much of his money to fund his personal projects.

I know, I was kidding. How long did Avedon work with the Rolleiflex before switching to 8x10?