finding vivian maier

I saw this on Friday at the IFC theater here in NYC. Very entertaining and worth seeing.

Caught it on saturday at the IFC while I was on spring break. would definitely recommend it.
maloof was slightly off putting for me, can't quite put my finger on it. entertaining and very enjoyable, but sometimes felt like they were shoving some points down my throat...maybe because it was quite thorough.

I wanted to see more work, but I guess that's what the shows and books are for!
 
I would like to go with my daughters to see it. Appropriate?

I think so. I think the heaviest stuff would be her supposed abuse of some of the children she cared for... like forcing one of them to eat by choking them... or some footage of dead sheep that she taped with her movie cam.
 
Vivian Maier, street photographer and nanny

Vivian Maier, street photographer and nanny

I sa this short 10 minute piece on youtube , it gives the back story to the discovery of the photographs , its excellent

search youtube : Vivian Maier, street photographer and nanny

James
 
Thanks for the recommendation.

It's playing here in Minneapolis on April 18 at the Lagoon Theater.

Just called Lagoon Theater and was informed the showing is now April 18.

I plan on seeing the film.
 
Saw it yesterday at IFC in NYC. It's a good documentary -- superb editing (the Achilles heel of all documentaries) -- the interviews with people who knew VM have a real quality -- well done. Learning of VM's mental issues, alluded to childhood problems (hints at her being sexually abused), how she treated one of the children in her care (very raw and disturbing), and of her impoverished last years all saddened me and will stay with me and I presume many others for quite some time. I greatly appreciated the scenes with Howard Greenberg (he's a class act), and seeing the hundreds of boxes in his storage area. I think he mentions having around 35,000 prints, more than most museums -- he really is The Caretaker. And I know everyone on RFF will like seeing the behind the scenes scenes of how VM's work is developed, printed, stored, and such. I hadn't realized VM had "150" 8mm films -- a treat is some footage with sound of her in the mid 60's. As photographers I'm sure we'll all identify with some of her kids getting annoyed during outings when VM stops to photograph things. My own family can't stand it when I stop to shoot. The childhood village in France where VM visited as a child is spectacularly beautiful. The arc of Maloof's growing up in a family that made a side biz of buying and selling storage locker contents (his comments on disposing of negatives is priceless), and his own discovery of VM's legacy, learning curve, management and care-taking of VM's work, and making the most of all opportunities related to this, and culminating in his participation/filming/marketing in this documentary and self-doubts (I don't know if this is the right word) as a response to outside criticism is in itself food for thought and fascinating -- to me at least. The documentary, while self-serving from a biz standpoint, and there's no way to avoid that, is still honest and authentic -- so he got it right. How the art world digests all this is an ongoing topic of conversation. Mary Poppins? Hardly. One former charge references the Evil Witch of the West (in appearance). References to her height, long military-like gait, with swinging arms, and preferences for man-tailored clothing are really over the top 🙂

Joel Meyerowitz describes the Rolleiflex as a camera suitable for taking discreet street photos of people because you can hold it at waist height and not need to raise it to one's eye -- now there is some truth to this, but the focus is so shallow, even at f/8, that I don't agree with his conclusions.
 
Does anyone know which lens was on her camera (I am assuming it was a Rolleiflex)? I was looking at some street shots of hers on the SF Chronicle website (you have to google it, then go to it, otherwise the lousy Comical won't let you read their drivel online w/o a subscription) ans was impressed by the sharpness. Looks like Tri-X in all probability and a Tessar lens, but I was just curious.
 
Does anyone know which lens was on her camera (I am assuming it was a Rolleiflex)? I was looking at some street shots of hers on the SF Chronicle website (you have to google it, then go to it, otherwise the lousy Comical won't let you read their drivel online w/o a subscription) ans was impressed by the sharpness. Looks like Tri-X in all probability and a Tessar lens, but I was just curious.

From the official site http://www.vivianmaier.com/frequently-asked-questions/

"Vivian Maier’s first camera was a modest Kodak Brownie box camera with one shutter speed, no aperture and focus control. In 1952 she purchased her first Rolleiflex camera. Over the course of her career she used Rolleiflex 3.5T, Rolleiflex 3.5F, Rolleiflex 2.8C, Rolleiflex Automat and others. She later also used a Leica IIIc, an Ihagee Exakta, a Zeiss Contarex and various other SLR cameras."

And mostly Tri-X or Ektachrome...

There's a funny scene in the movie where Maloof visits a relative of VM's in the French town and is shown a print of VM's and VM's mother's box camera and Maloof vibrates with desire to add these items to his treasure trove -- can't blame him 🙂
 
Does anyone know which lens was on her camera (I am assuming it was a Rolleiflex)? I was looking at some street shots of hers on the SF Chronicle website (you have to google it, then go to it, otherwise the lousy Comical won't let you read their drivel online w/o a subscription) ans was impressed by the sharpness. Looks like Tri-X in all probability and a Tessar lens, but I was just curious.

I think she used a rolleiflex T a lot. So yeah a tessar lens. Not that she stuck with only one camera though
 
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