April 30, 2024 • 72 mins
"The wonderful thing about photography is that it's a solo act. It's just me and the camera." - Jessica Lange
"The common denominator is that we all want to make something beautiful, something relatable, something we can look at and say, 'Shit! Yeah, man. That turned out better than I thought." - Jeff Bridges
In this episode, Antonio and Ward discuss a quirky event Ward attended where a record number of people dressed in inflatable dinosaur costumes. This lighthearted gathering is contrasted with Antonio's experience at the AIPAD photography show, where he explored an extensive exhibition featuring a rich array of photographs from both historic and modern photographers. He was particularly moved by the historical depth and artistic expression evident in the displayed photographs.
The conversation shifts to celebrity photographers, highlighting the surprising photographic talents of well-known figures such as Jeff Bridges and Dennis Hopper. Antonio and Ward discuss how these celebrities utilize their unique positions to capture images that offer a rare glimpse into the world of Hollywood and beyond.
The final portion of the show is dedicated to discussing Jessica Lange's work as a photographer. Antonio shares his surprise discovery of Lange's photography, expressing admiration for her ability to capture compelling black and white images that reflect her travels along Highway 61, from Minnesota to Louisiana. Her work, which includes several published photo books, is praised for its emotional depth and artistic quality, drawing parallels to the iconic work of Robert Frank and other photographers.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The wonderful thing about photography is that it's a solo act.
It's just me and the camera.
The common denominator is that we all want to make something beautiful,
something relatable, something we can look at and say, shit,
yeah, man, that turned out better than I thought.
Music.
(00:30):
Hey, welcome to the Street Shots Photography Podcast. This is Antonio. And this is Ward.
And this is episode 206 for someday in the future.
I'm sorry, for the end of, I'm spacing out. For the end of April 2024,
(00:50):
already we're in the end of the fourth month of this year, a quarter of the way through.
Springtime in the Northern Hemisphere. Yes.
Springtime. Yeah. We're, we're, we're having a very long spring here.
I don't know about you, but it's just been, although tomorrow,
today was 70 degrees. Today's Sunday.
And tomorrow, Monday, it's supposed to be 85 here, which is almost air conditioner weather.
(01:17):
Weather so so for me the temperature got up as high as 48 degrees oh that's fahrenheit.
That's actually a nice that's a nice temperature yeah but
it will be just in the 50 it will be in the
high 30s midweek yeah okay it's
if you want to say it's a long spring we call it what do we call it
(01:39):
there's the this part of the
country have like seven seasons one is like despair air
the false false yeah it's fall spring yes
yeah winter of our discontent yeah yeah
well then when when i don't know if it happens with you guys and but when we
have a cold spring like the flowers last for a very long time and the trees
(02:00):
take seems like they take a longer time to come out so the green is like nice
and slow and just feels like this nice elongated kind of a beautiful time.
Although it gets kind of cold. Like last week it was, we had temperatures down
to the thirties and it was windy and it was flipping cold.
I was like, so, but it just seems to like, are we have these tulips in front of our building?
(02:24):
They, the, the gardeners planted nice tulips and.
And it's almost like botanic garden quality. Like they look really nice.
You walk around my neighborhood, some of the, some of the areas,
some of the buildings are houses in our, in our neighborhood.
They're just, it's, it is, it's like walking through a botanic garden. Very cool.
(02:44):
Really nice thing. So it's the longer these last, you know, the nicer it is.
So, you know, I was walking around today with my camera and taking some pictures
to show people like, look at, look at our area. Look what is nice.
Wow. Look how nice it is. No, for us, it's just the green around the edges of
people's lawns and in their backyards. And that's it.
There's no, well, there's crocuses that have come up in the middle of Marcy's
(03:06):
garden in the front yard. You guys have cherries too? Cherry trees?
No, no, we don't have, we have, no.
It's not the right environment. It's not the right environment.
We have, it's a kind of a cherry.
It's like a mock cherry that you can, that grows here, but it's not a true cherry tree.
Ah, but it's still flowers. Yeah. Oh yeah. Yeah. Yeah, but that's not for another
(03:26):
two, three, four weeks when there's blossoms.
It'll be mid-May when the apples blossom.
Yeah. Grab apple trees and so on. Our cherries, yeah, all the trees are now
blossoming, and we lost the magnolias. Those things don't last that long anyway.
They get butchered by, you know, you sneeze on them and they turn brown.
(03:51):
But, yeah, it's really nice. It's, it's, I like the longer springs.
So, but tomorrow, 85, you know, okay, sure.
Whatever. But anyway, so that's the weather for all those people who are listening
to this in the, in the far future, so much for an evergreen show, right?
It's going to be a, yeah. Well, who cares about the weather in April of, you know, 2024. So yeah.
(04:18):
How are you in general? Really good. I'm a little tired.
I went to an event in town in a little city about an hour and a half away east
of here called Drumheller.
I got to document through my own fine art vision the successful Guinness Book
attempt at the maximum number of people who've gathered together in inflatable dinosaur costumes.
(04:44):
Some 2,000 or more. It's probably never been said until today, you know? Yeah. Yeah.
How many? Over 2,000, they estimate.
What was the previous record? Less than 200.
Whoa. So we kicked the stuffing out of that one.
And you've got photos of this? I have photos of this.
(05:04):
I have coverage and I have my idea of fine art, like a guy walking around in
an inflatable dinosaur costume, like trying to turn it into art, man.
Yeah. Well, 2000 of them, that's a, that's a natural art project right there.
It doesn't even, it goes beyond Guinness book of world records.
(05:25):
That is, that is human art or dinosaur art.
There was a band there, the color, the noise, the music, the families together.
Like it was fun to just be around something that you do just for the fun of it.
There was no, you gotta do this.
There's no seriousness. and there's no heaviness in it. And that was amazing.
(05:47):
And it's like, even as we're still recovering from, you know,
the end times, whatever you want to call them, the pandemic,
there's still this like, oh, this is something we can actually do and have fun
and do something different.
And in the moment and then the energy, when you have a group of people,
(06:08):
any kind of large group of people, and everybody's doing the same thing.
There, there's something special that comes out of that. And then you're photographing it,
which is gotta be an incredible experience just, you know, to be looking at
all this stuff and like, where do you start and how do you, and one of my,
everybody looks the same, all the, all the dinosaurs, this, yeah.
(06:30):
One of my street photography at acquaintances was the official who flew the
drone over everyone. And I guess the Guinness organization is using AI to count
the number of people in the street to give the official count.
Really? Yeah. Yeah, I'm curious how that works. Yeah, I'm curious too.
So we'll find out about it in the next few days and it'll be interesting.
(06:53):
Well, you certainly, I mean, you could probably tell that you beat it,
but you got to figure out the exact number of people or at least the closest that you can get.
Yeah. for the next one because the next one they're going to try to beat it by one person,
or one dinosaur i should say yeah but
then all the people who who are
there now they all have these dinosaur costumes yeah what's your point so you
(07:16):
can always break the you can always break it again you know you're just something
you have to add well that's true if the event's going to be nearby more absolutely
yeah yeah yeah so that's great you've got to i got to see these pictures We've
got to share at least one of these pictures.
And for those people who are in the record attempt who might be listening to
the show, please send a picture. Yes, absolutely.
(07:39):
From the inside of one of these suits. There were some familiar faces in the crowd there.
How could you tell? Well, no,
not the ones that were dressed in dinosaur costumes, but friends of mine.
I see. My artist friend, my artist friend Vicky and Carrie Schatz, who did the drone work.
Yeah no it was very cool oh awesome you know to experience something like that
(08:02):
i think i was telling you offline that we the closest that i think we've had here was the uh,
santa con which happens around christmas and it's the thing that you don't want to be around.
It's a different vibe it's a different demographic different vibe it's it is
turned into this there's one thing about seeing a thousands of santas that's
(08:23):
got a bit of a fun thing to it but the The problem is that they all go bar hopping
and then they end up throwing up on the subways and it becomes this red plague.
You know, if you're watching it from above with a drone, you're seeing these,
you know, and nobody's wearing the beards. They're just wearing the hats and the, and the coats.
And you just want to leave town when this, when this, when this pestilence sort
(08:44):
of meanders around the city and it goes up the tree. You just don't want to be here.
I propose that you guys like,
All come to New York in Christmas and bring those T-Rex costumes and put a little red hat on it.
And then, you know, we could see that just built in silly. We'll close down Broadway, man.
(09:06):
Yeah. And people can't drink. You can't. Well, actually, you probably could
drink in those suits, right?
I think you threw the screen. My wife and her girlfriend, it is possible to
withdraw your arms and have a little nip. Yes.
Inside the costume. Inside the costume, yes. Oh, see, that was, okay, yeah. Yeah.
But bear in mind that there were a lot of families here. That was not the spirit
(09:26):
of the thing. Right. Right.
But. Yeah, this is all frat boys. Right.
And if anybody is listening to this who's in Santa Con, I'm sorry if I'm insulting
you, but it's ridiculous and it's got to stop.
You guys have taken over the, anyway, okay. We're done.
We're done. We're going into Christmas. We're done with the holidays and stuff. So pictures pending.
(09:49):
Pending we'll put that in the i'll put that in the show notes
for you guys so anyway well while you're
you know documenting thousands of tyrannosaurus
rexes doing their thing i went to a photo show in the city which is a yearly
show called the apad well it's a show from this organization called apad and
(10:13):
it's the apad stands for the association of international photography Photography art dealers.
So AIP, I PAD, they call it the photography show.
And I think last year was it was last year. I went and had a little,
I think I probably talked about it on the show back then.
And this year it was in a different location than it was last year.
(10:36):
Last year's location was kind of cool, but this one is even cooler.
It was a, an empty armory.
In on park avenue and 63rd to
64th street which literally takes up the
entire block so if you know what a city block looks like
it goes from 63rd to 64th let's say
or 64th to 65th i'm not sure the exact and then from park avenue to lexington
(10:58):
avenue so it was an armory you know where they kept arms and stuff for soldiers
and stuff like that now it's used for art exhibits So it's a giant dome structure
and like an empty castle in some way. Wow.
And the APAD has had their shows there in the past.
(11:19):
Last year was the first show from after the pandemic.
This one felt bigger in a lot of ways because it's just the space was bigger.
So anyway, I went. I signed up for three days. I only went for Friday and Saturday. I didn't go today.
I thought I'd take today off. I was just like, I seen a lot and I'm going to,
(11:39):
I walked through with my video camera.
So I'm going to post up on YouTube, just a walkthrough. Okay.
So you can see what it, what it looks like. So I'm going to edit that and put that up.
And highlights that you can share now. Well, yeah, no, I'll share some,
I'll share some highlight.
Well, first of all, you know, you go through a show like that.
First, it feels like you're going to, sorry, you, I hate when I say that for
(12:02):
me, when I When I go through a show like that, I feel as if I'm in a museum
that's been like, like concentration, like it's a concentration of art, right?
You know, like frozen concentrated artists, this is frozen concentrated photography.
And because it's all these galleries that are showing, there's a lot of old
(12:22):
photography. There's a lot of historic photography.
There's a lot of, uh, new photography, new, new styles and stuff like that.
New photographers. And they're all galleries, right?
So they're showing off what they have. You can buy prints that they have.
Some galleries will have.
Yeah, I was looking through one of the matted print displays that they had.
(12:43):
And, you know, I'm picking up a print.
I can't remember who the photographer was. You know, it's like $10,000,
right? And it's just in a matted print.
I came across, hang on, there was a Brett Weston shot.
No, sorry, Edward Weston. every western shot
of dunes oceano 1936 it's
(13:03):
a silver gelatin silver print mounted on an
illustration board dated initialed and
dated in pencil on mount signed titled and
dated blah blah blah private collector 120 000 okay and i'm staring at this
print right in front of my face it's it's actually probably a little bit smaller
(13:25):
than eight by ten and i'm not even sure that's But there's a lot of imagery
there where the prices were...
Straight off the you know okay you look
at the price you go sure yeah not me
well you know there was yeah there were some pictures there that were nice that
were like in the less than a thousand dollar range and you know if i was a collector
(13:49):
i might buy them i'm not a collector of photography like this like you know
i i i look at it and i appreciate it but it's lost on me in the sense Like there would just not be,
I'm not the right person to own it.
I would, I don't mind having a print of some of the imagery and like hanging
up on my wall, but not as a collection kind of thing.
But, you know, coming across, oh my gosh, who is this? Let's see.
(14:14):
I'm looking at all these pictures. There's one, one photographer's work.
What was her name? Uh, Deborah Turbin.
Turbaville? Turbaville. Yeah. Deborah Turbaville. And it was a whole bunch of
her Polaroids, all these Polaroids that she had made while for, for other shoots.
And a lot of them were the old ones that, that turned Brown,
(14:36):
like sepia, if you're not proper.
And they were themselves, the, the art pieces as well. And I was,
I was totally drawn to those.
Um, there were these great little sequences they're doing and the,
and the fading colors and the scratches and the prints were kind of bent.
And I don't think none of that was, you know, made to, to be that way.
It wasn't like she affected the prints.
(14:57):
These were just like prints that she had in a box someplace that she stored
from shoots and, and then took them out.
And they're like masking tape has turned yellow and stuff like that.
So those were really fun to look at.
One photographer's work, which caught my eye was this woman named Francesca Woodman.
(15:17):
When she had photographed a bunch of nudes and stuff, a lot of them were in
Providence, Rhode Island. Actually, one of her prints was, again,
another one for like $60,000.
And this was like a small print. I was really, again, I'm curious because I'd
never heard of her work before.
I'm not, I'm not this much. I didn't know the name. I don't,
I can't. I knew Deborah Turbeville a little bit. No, I know of her.
(15:38):
But not Francesca Woodman. But not Francesca Woodman, no. No.
This prints a picture of three figures, three nudes in Providence, Rhode Island.
Again, well, I'm not, and there's a red dot on it, by the way.
Yeah. So someone, so it was an $80,000 print.
Now, of course there's lots of, you know, we're talking about the history of photography here.
There was a, uh, William was a Talbot shot there.
(16:02):
So we were talking about like the origins of photography, pencil of nature and so on.
Yeah. There's, there, there was a whole wall by the way of, and we got to do
a, we have to do a deep dive on Tony Vaccaro on his work.
I met him once and then he signed one of his books for me that leaving,
leaving Germany or no entering Germany.
So it was the end of the world when he was with the soldiers entering Germany
(16:24):
after World War II's ended.
But there was a lot of his other pictures there. Like there's this great shot
of Jimi Hendrix and Mick Jagger in front of what looks like,
I think it was a Porsche or something like that. Okay.
This other great shot of a woman standing in front of the Guggenheim and she's
wearing a hat that looks like the Guggenheim.
Oh, yeah. I know that. I think I know that picture. That's a great shot. It's fantastic.
(16:45):
So, I mean, it's an endless, it's like I took lots of pictures.
Was the nice thing about that place is that nobody busts your chops about
you know everybody's walking in with their phone everybody's taking pictures of the photos off
the wall so now i've got plenty of stuff for my photo journaling
okay by the way you know because i'm i'm not so concerned with
you know necessarily the quality i'm more concerned about getting
the getting the picture but there's just
(17:06):
i come out of that well first
of all it's the same thing that you
were in a way describing about the experience with
the tyrannosaurus people it's like an overwhelming overwhelmingness
i i'm walking around there with my mouth open like
i'm gonna catch flies because again i'm
i'm seeing stuff that that is
(17:28):
from my history from what i've read about you know like everything that we talk
about it's it's there it's concentrated it's it people are talking photography
there's there's a you know there's a lot of gallery talk and there's people
buying lying stuff. And you know, I'm not in that crowd.
Obviously I'm in the crowd of just like, I am. I want to look at pictures and
(17:49):
it's hard not to come out of that show and.
With a lot of feelings. So for me, it was like, you know, I ended up walking,
doing a long walk to the subway.
Instead of taking the close subway, I did a longer walk to the subway.
So I walked up to 57th street and then across the sixth Avenue.
So it's a bit of a walk, about a mile walk, but with my camera,
(18:11):
because like, you know, I'm jazzed to, to take pictures.
Nothing is going to come. Nothing is going to come looking, but it's just, it's an energy.
And there's also this part of
me that that again this is not a it's not the predominant part but i would be
lying to say if it's not there it's like what the hell am i doing you know it's
(18:34):
like i see all this photography and this work and this is this beauty and i cannot help but compare.
What i do to what these what i'm seeing in this in this stuff now that's not
fair i get it but i I'd be lying to say it doesn't, it doesn't happen.
You know, you come back and to say, well, this, these kinds of pictures or this
(18:57):
look or something like that, I'm not going to get these kinds of,
I'm not going to get pictures that are going to sit in the gallery between,
you know, 63rd street and 57th and eighth, you know, and, but I want to, but I'm not.
And I, I just come out thinking like, what am I doing?
You know, and it can take it two ways. Like as motivation to do more,
which is, is fine. take it to also be you know.
(19:23):
There've been a lot of photographers. I mean, you know, there's a, it's a pyramid, right?
In a sense that there's that small group of photographers who are high functioning,
who are doing their thing.
And that's an, any, I think that's in any field, right?
We, we, we ought not to in general feel bad about it.
And I can't help but feel bad about it.
(19:44):
So it's, it's a mix. It's a real mix and it's not a bad thing.
It's, I don't think that's bad. And I'm, you know, I'm not beating myself up
or it's not doing any of the bad stuff. Like there is an inspiration.
So, so there's that. And so I went on Saturday as well.
We did the same walk around. I looked at the things a little bit closer.
(20:04):
Talked to a few more, talked to a few more people.
I missed what's his name? Who was supposed to be there? Roger Deakins.
Roger Deakins was there doing a book signing. I missed him because I,
I got there past one o'clock when he was talking. I did see Bruce Gilden,
but I didn't take a picture of him.
He was in the publishing section. There was a section with books.
(20:25):
Oh, good news is I only walked out of that show with one book. Okay.
Well, that's not necessarily good news. Maybe you should have half a dozen.
No, it is for my wallet. Oh, for your wallet.
Oh, I see. For my wallet. Yeah, no. Speaking of collectors. There was a lot. Yeah.
Well, there was a lot of books there. They had actually a larger book section
than they did last time. So that's why I think this was a bigger show.
(20:48):
There was a lot more publishers there in a separate section.
And there was some really nice, there was some really nice Japanese books.
And I was looking for photographers that I knew because I didn't want to suddenly
just pick up a book and buy something.
So that kept me away from a lot of the books. I did on my way out,
find a Ruth Orkin book called women.
(21:09):
And I stopped and I looked at it and like, I, I'm aware of her work kind of,
you know, It was just street photographer, but this book was all photographs
of women from the, in the forties and fifties.
On the street, like street photography of women.
Oh, not just street photography. No, there was street. There was,
there was portraiture. There was like some investigative stuff.
(21:31):
There was like behind the scenes of movies with some actresses,
like Angie Dickinson. Oh, cool.
There was a following. It seemed, I didn't look at the names yet of the people
who were in the pictures, but there was one, like multiple shots of the same woman in different.
Situations like at home and at a job or something like that.
And it's very much, there was a lot of New York feel to some of the pictures
(21:53):
and there was just that time period before my time.
But like, I have some sort of resonance with, with that time period and, and in the photography.
So it was $40 and I thought, okay, well that's reasonable.
Right. You know? So I walked out with that book and it was, it's a great book.
(22:14):
It's maybe we could, we should do a deep dive on Ruth working.
Cool. Because I think maybe, I don't know how many people know about her, but yeah.
So anyway, who else? There's endless stuff. There's one photographer that would
have fit our, our previous show.
When he was talking about Wilhelm Hammershoy, right.
(22:35):
I came across a photographer whose work, some of the pictures resonated.
Her name was Ilona. I'm going to, I'm going to pronounce this wrong. So forgive me.
Langbroek l-a-n-g-b-r-o-e-k dutch
okay but sure she has
a series called silent loss and there was some imagery
in there that you know i swear was
(22:58):
you know inspired by like a hammer shoy style photography but there's also figures
in in these things as well so it was really it's great to see and it was great
to look to walk up to pictures and like not look at the plaque or sometimes
the The names weren't there. And I was like, I know who that is. Right.
Like, like I knew a Gustav LeGray when I see it. Yeah. I was like,
(23:19):
I was impressing myself. Oh, Gustav LeGray. Cool.
That, then those are, they're vintage prints too, are they?
Or many of them? They were the vintage prints. Wow. Yeah, I went right up to,
I went up to one of them and I was like, I looked at it and it made me smile.
You know, I must've looked like an idiot because I'm walking around there.
I was, besides my mouth being open, but my mouth was open in a smile because
(23:39):
it was, Because I don't know how I, you can't walk around this stuff and not
feel moved and in awe of it.
And so when I saw this LeGray picture, photograph, the print,
I'm looking at it, I'm like, I don't even have to look at the name.
And I looked at his name is signed on the print.
I was like, that's a Gustave LeGray. Like, I know that.
(24:00):
And so I was very proud of myself to say, okay, this stuff is.
You know your stuff, man.
Yeah, I know. I know some of my stuff. I know, you know, the basic stuff.
I know the Westons and stuff like that, but there were pictures from people
who like, oh gosh, I can't remember.
I can't remember some of the names, but I was a bit surprised that these were
(24:21):
pictures from this person.
You know, that didn't strike. Oh, Martin, some, some of early,
uh, early work from Martin Parr.
Okay. Because his work was really a lot different than it is now.
It was black and white and it was more documentary, like straight up documentary.
Yeah. Kind of inky blacks.
Yeah. Welsh miners and so on. Yeah.
Yeah. And then like, these were abandoned cars on the side. It's a lot of bit
(24:43):
of the humor in it, you know? Yeah. But so there's that, there's that surprise.
There's the, you know, I did see a picture of somebody I know. Oh, cool.
Yeah. Well, it's a photograph by Terry O'Neill and I'll put this in the,
I'll put this in the show notes.
So it's a shot behind the scenes of a movie and it's Frank Sinatra walking with an entourage.
(25:04):
And to Sinatra's right is a guy dressed up in the exact same suit.
And his name is Alex Stevens. Stevens and he was Frank Sinatra's stuntman for a lot of films.
And so he was friends with Frank Sinatra. Anyway, Alex Stevens was someone I
grew up with. So I knew him. He was a stuntman.
He was the president of the East coast stuntmen's association.
(25:27):
He dated my, my, my mom and my mom worked in the stunt organization.
And, and so I'm walking around and I'm looking at the print and I just started
to chuckle because I'm like, Oh, and now I can see who that I've seen the picture
before, but I didn't know who the, who the photographer was.
And I was like, Terry O'Neill.
I was like, oh, that's interesting. And, you know, I, I, I go and I take a closeup
(25:48):
picture of it and, you know, Alex Stevens does not look anything like Frank
Sinatra other than like their body might be the same and they're wearing the same suit, but facial.
But anyway, like I was, you know, to see that connection, to,
to look at the picture and say, oh, I know this guy.
And now I know the photographer is, and, you know, you know,
(26:09):
here's someone from my past that there was that six degrees of separation kind of thing kicked in.
So I don't know. It was just, it, it,
You know, maybe two days was enough because it is very overwhelming.
And at a certain point, like how many times can you see the same pictures?
But, you know, if anybody can go to a show like this, if you're around someplace,
I mean, I'm privileged because I'm in New York and this is where they have the show all the time.
(26:31):
But if there's any chance for you to go see something like this, go to it.
It is just indescribable.
If you love photography, you know, and just don't go with your checkbook because.
Cause just go appreciate the work.
Yeah. Yeah. And you know what? There was some modern stuff that I,
I was really pulled into. There was one picture. I'll just talk about it quickly.
(26:56):
It was a big picture. It was a 45 by 33 inch chroma jetting print by someone named James Welling.
And it was called torso one through 18.
The limited edition of five was $15,000, but it was this great image.
Of, let me look at it closely here. You know, the screen material that you have
(27:19):
for windows, the screening material, you know, for your screen doors and stuff like that.
It was this material cut just fine.
Into this strip and just sort of hung there and it's blue and the background
is blue, but it's, it's, it's folded in such a way that it mimics and it almost mimics a human form.
(27:39):
I don't think it was like folded to look human. It just looks like the way it's, it's draping. Wow.
You know, it kind of reminds me in some way of the, is it the Edward is the
Edward Weston shot of the, of pepper number 30, right? Yeah.
Yeah. Yeah, like in that same vein. Oh, I see. The pepper itself is not human,
(28:00):
but it evokes humanness into it.
Right, you pattern match. I'm like, oh, this is like a human form. Yeah.
Yeah. Now, this one was called Torsos, so it's obviously designed or was made
or shot to look human, but it's got that same feel. It's this found object.
And I was really pulled to this picture. I mean, there's like,
(28:20):
this would be like, if I was going to, I don't know, if I could make one choice
of some photograph to buy, like, I think I might, I might love this.
Cause I really enjoy that kind of idea where a photographer can make something
look like something else.
And I, there's something very, I don't know, it's the word something. I don't know.
No, like the photographer could notice something, someone who can notice this,
(28:42):
you know, who can see something in something else that like,
you know, I would say civilians don't see.
But you know that people who are not photographers or
maybe not artists don't see it it's like almost
like a secret language anyway so i yeah i mean that's saying a lot but if i
did have to run out run out with one picture like if you know i had all the
(29:03):
money and i had to one out with one i think this would be the one because all
the other ones even the old stuff is like you know collectors this one to me
looks like something that's just beautiful to look at you know like have that
thing hanging up in front of,
you know, the wall all the time and just being able to stare at it and stuff
and have my imagination go. Anyway. Cool.
So yeah, really, really, really good experience.
(29:26):
And, uh, what was I going to say? There was...
That was my that was my weekend so it sounds like we both had some some interesting weekends.
Music.
(29:49):
Sometime during the uh during the
past two days i got sort of
wind of some celebrity photographers meaning
not a celebrity photographer like a like
a famous photographer but a celebrity who is
also a photographer so i thought
maybe we could talk about those people yes i know last week we were talking
(30:11):
about you know newly found photographers and i was like well i was not aware
of certain celebrities who pick up the the camera and take pictures yeah and we're not talking
about necessarily or i don't think any of the examples we're going to talk about tonight,
are just doing it for vanity they're actually
(30:33):
very good photographers that we would have their books and i have some of their
books so that that's one thing when we're talking about celebrity photographers
we're not just talking about celebrities who happen to pick up a camera these
are actually artists with a camera yeah before you kind of poo-poo what what
we're about lot to talk about here.
Yeah. And again, my, you know, I'm still, I still feel like I'm learning about
(30:58):
photography and photographers.
And so some of these people that are on the list, I know, like I know they're
photographers, but not all of them. Like I didn't know,
you know, all these people were. So let's go through your list first,
and then we'll follow with mine.
But I have something to say about your people.
Okay, so if we're going to start with celebrity, think about Hollywood first.
(31:22):
And so there are two gentlemen that, in my mind, stand out the most,
and they are Dennis Hopper and Jeff Bridges.
Now, both of them, what binds them together, besides that they're both Hollywood
actors, You know, one thing we appreciate about photography.
Particularly in sports and things like that, is their privileged access to the event.
(31:48):
Like, you know, you're shooting a hockey game, you get to have big strobes in
the venue and blah, blah, blah.
You're there and because you're in a privileged position, you can take pictures
of things that normal humans can't.
And so that's where these two guys come in to play.
With Dennis Hopper, he did in his earlier film career, early sixties.
(32:11):
So from 61 to about 67, he was very, very active and he was 35 millimeter tri-X
shooter, black and white.
And he covered his life with his co-stars and behind the scenes and on the set.
And so you get a privileged access into the creative process of making movies
(32:32):
and flattering ring portraits of his, of his co-stars.
So, yeah, so he was, he was most active in the mid, in early and mid sixties.
And actually a book from Tashin of his has just come back into print.
It's called, it's called Dennis Hopper Photographs, 1961 to 1967.
(32:52):
It's from Tashin. I think it's a hundred dollars US and it's huge. It's almost 500 pages.
So if you're into that and if you're a Dennis Hopper fan and you like that sort
of Hollywood hollywood 60s thing you you know that there's there's an opportunity
for you now jeff bridges what's that well before we go to jeff i wanted to talk
about dennis hopper for sure because,
(33:13):
we did talk about one of his prints one of his pictures that he took through a car window,
of los angeles a while back i don't
know what the context of the show is but i remember that i remember that picture
that he took and i think it was there was
a there was a essay written about it but anyway when so
hopper didn't he put down his camera like in the
(33:34):
early 70s so he didn't he didn't continue photography
but if he was in apocalypse now
as an american photojournalist he shows up towards the like latter half of the
film and he's covered with like nikon cameras he's got a bandana he's got he's
got the sunglasses on he's got the
(33:55):
vest with all the stuff on it he looks incredibly natural in that part.
And when I saw.
Apocalypse Now, when I was a kid, my mom took me to see it, which is,
we won't talk about, might not be the best movie for a kid to see back then. But anyway, I saw it.
And when I saw Dennis Hopper, like I wanted to be him. And I do feel that seeing
(34:19):
him playing that role as a photographer, which I didn't know he was, he was a photographer.
But he was playing that role naturally that he sort of guided me a little bit
into, at least when I was in school, I wanted to be a photojournalist.
And I was wondering where that came from.
And I think part of it came from his depiction of that. He was really cool guy.
Anyway, I just wanted to put that out about Dennis Hopper. So.
(34:41):
Very cool. I didn't know that. That's neat.
Oh, you didn't know that? No. Well, I knew he was in, I went to see Apocalypse Now too.
And I got, and I did like, well, I did, I did like, there was no,
my mom didn't take me to see it.
She just let me go. And so I just went. Oh, okay.
I went to the opening. So I was, we were at a red carpet. Oh,
(35:02):
very fancy. Yeah, I know, I know, I know.
Wow. Because my mom was in the business, but yeah, you know, he was so good in that.
He was like, you know, if is the middle word in life. Yeah.
Saying all this stuff anyway. It was just on a side note, we lost Eleanor Coppola
(35:22):
this week. She passed away.
She's Francis Ford Coppola's wife. She did the documentary on Heart of Darkness.
Heart of Darkness. The documentary about the making of the movie.
Oh, I'm sorry to hear that. Yeah. Geez. But it was just a destroyer to me while
we were in that mode. I was just thinking of her this week, actually.
So we go from Dennis Hopper. The other Hollywood guy is Jeff Bridges.
(35:45):
Now, Jeff Bridges is interesting because he uses different gear.
He uses a WideLux panoramic camera. Yeah.
And what is a WideLux? It is, they call it a, and I just looked this up tonight.
I just called it a panoramic camera. I've used them.
Have you got to use one? I dare you. Yeah. I've never used one. It says there's,
(36:07):
Well, do you want me to say that? Yeah, absolutely. Go ahead. Oh, okay.
I mean, since I used it, there's, I think, two versions of it.
There's a medium format version and a 35 millimeter version.
And I used the 35 millimeter version.
And to be honest with you, I borrowed it from our brother in life,
Keith Goldstein. Cool. Because he has one.
(36:28):
And he lent it to me for a weekend. And so it's a panoramic camera that has this very strange lens.
It's like a, it's a cylinder, sort of a vertical cylinder in the front of the
camera with a, with a hole with a lens.
And what it does is when you take a picture that spins around,
(36:49):
not quite 180 degrees, but it goes from left to right or right to left.
I can't remember the direction.
And the film gate, the back is, is, is very long.
And so it records a panoramic image from left to right. It sort of scans the
image when you're taking the picture and it's this mechanical sound, right?
It goes, and then you get this giant sort of piece of film in the back. That's panoramic.
(37:15):
That's, that's what I remember.
I think, I'm not sure if you knew different lengths of panoramic. I can't remember.
And I'm not sure if the film moves at the same time. No, I don't think it does.
I don't think it does. No, I know there are cameras that do that,
But, but this one doesn't.
And, and so what you end up with is an image pretty much like if you're using
(37:38):
the iPhone or Android phone to do a panoramic mode, like it's that kind of spinning event.
And then horizontal lines are distorted, very, you know, they're sort of curved.
You get two vanishing points, stuff like that. Anyway, we're going on too long about it.
It's a very cool device. And so what Bridges has done is he has always brought
(38:01):
this WideLux camera with him on set.
And when there's a gap in the action, he shoots on the set.
He often points it back at himself with his co-star or his director or points it back at the camera.
A selfie with him. Behind. Like he's got, well, he's got two books that came out.
One was called just Jeff Brooks or Jeff Bridges pictures and picture volume.
(38:23):
That was in 2004, and there's some images of Onset that are quite stunning,
and they're all very, you know, this wide.
I want to say it's 6 by 17 centimeters is the negative size, very wide.
Yeah. And, you know, in the original book, there's the first book pictures,
(38:44):
there's images that he took when he was working on the Big Lebowski.
So if you're a big Lebowski fan, man, you'll be impressed by that.
There's a picture of him sitting with Sam Elliott in his cowboy,
the cowboy guy at the beginning and the end of the movie, the narrator,
shooting up, you know, in the scene in the bowling alley.
It's just a lot of fun. And that kind of insider thing and how this kind of
(39:10):
warm feeling of Bridger's books that kinds of bring you in like,
you know, you're my guest, so, you know, enjoy. So that's Hollywood.
Sort of aside from Hollywood, the big Hollywood director that most of us know
of, Stanley Kubrick, he started his career as a teenager working for Look Magazine as a photographer.
(39:31):
Do you want to describe Look Magazine? Look Magazine was a...
It was a competitor to Life magazine, but it had much more of an emphasis on
celebrity and Hollywood and lifestyle.
And it was a big, big tabloidy kind of oversized magazine.
(39:51):
Lush images, fashion-y, celebrity kind of thing.
And it was definitely, definitely good for, you know, easy on the eyes to go
through those magazines.
Magazines so i think he started as a 19
year old uh working for look magazine and
he did really yeah 19 19 yeah
(40:11):
he must have been he must have been doing his eye
must have been really well like developed oh absolutely
you go through like there is a there's a
book attack another talking about tash and
books there's a book of of his work that
came out called stanley kubrick photographs through a
different lens and it starts right at
(40:33):
the very beginning of his career almost everything that that ran
in look magazine and right up until the time that
he started in in in movies they're his
images in there and they're very i would say he worked with a great deal of
precision i mean you look at his focusing everything's very deliberate very
formal very mid-century like very much the look in life magazine look that maybe
(40:56):
is a bit of a cliche by now but by then And it was cutting, he was as cutting edge as anybody.
And I would say that he, he worked with, with,
you know, great precision and, and awareness of what it was that he was shooting
to capture that actress or that
particular model or that particular situation or the family that he's,
(41:16):
that's photographing was very, is very cool.
And if you're a Kubrick fan and you didn't know anything about this,
this book is still available at Tash and it's called Stanley Kubrick Photographs
Through a Different Lens.
That's cool. So getting away from Hollywood, if we go to music,
the country music star Kenny Rogers was a fine art photographer.
(41:39):
He did medium format and he did some color work, I think, later in his career
as a photographer. What kind of work did he do?
Well, what I know him for is largely fine art black and white.
So some of it is travel work that's very,
he's got a picture of the Lincoln Memorial at night and taken from some distance
(42:05):
in a long lens on a medium format, or I'm sorry, on a large format camera, probably four by five.
With the glow of the Lincoln statue inside the memorial,
and then with darker tones, very, very finely crafted, you know,
with the tones and the pillars and the people going up the steps and the glow, the nighttime glow.
(42:30):
It's very, very arresting, very, very beautiful, fine artwork,
good tones. I'm all about the tones, you know.
Yeah. So he did stuff like that.
Another musician, oh, they've got a couple of musicians here.
Andy Summers, the guitar player from the band Police.
He picked up the camera when the Police started to get famous in the late 70s.
(42:54):
His first book was, he took during the tour of the Synchronicity album,
or when that album came out in 82, 83. Yeah, that was my first concert. Yeah.
So his pictures are not so much about behind the scenes at the tour.
It's just things that interested him while they were traveling.
(43:14):
And so it's just kind of like, I saw this, I saw that.
It's interesting from a point of view. And if you're an Andy Summers fan,
if you're an Andy Summers completist, I think it's worth seeing.
It's a 35 millimeter Leica, you know, very well, you know, past competent,
interesting and fun and thoughtful, I think, images.
Another guy, Graham Nash from Crosby, Stills, Nash & Young.
(43:38):
There's a guy who does all kinds of things.
A lot of his images, I'd say the majority of the ones that we know of,
of his, had to do again with privileged access, this time to being in CSNY,
both before Neil Young and with Neil Young.
His images, portraits, tend to be, I believe they're black and white, 35 millimeter.
(44:01):
And I think there was some color later on. There was some color.
These guys as they're, you know, in his band playing or just straight out portraiture
or Stan, he's got a picture of David Crosby standing in an airport reading a, a pulp novel,
you know, just stuff that he, you know, that only he, he, he would see or he could see.
(44:23):
And, and Nash was also known for his archival
printing service that he established the Nash editions which was a lab and i
think he he was one of the first people to privately own an iris printer yeah
i think he bought one in 89 now an iris printer is like a large format color.
(44:47):
Digital printer that you use for pre-press right
it's right it was also like a precursor to
inkjet printers i mean it's it's in that vein i
think that's how the the the with the i'm
not sure actually if that's how it worked if it i think was a i think it was
an inkjet it was like an early it was an inkjet yeah i mean i've got a couple
(45:08):
of iris prints i've had i've had iris prints made not from nash's company but
but i still have some iris prints and but he's still his company still Still, you know, produces,
you can go and have your work, you know, printed by him and is very into archival-ness of photography.
(45:28):
I did get a chance to meet him once at an interview, shake his hand,
told him how much I liked his fine art printing, how much it meant.
And he appreciated that. Very cool.
Yeah. Cool. And I guess I got one more, one more photographer to speak of.
And that's Leonard Nimoy. I know you and I are both Trekkies.
(45:49):
Trekkies, yeah. Trekkies, so, or Mr. Spock. So, his work was interesting in
that what I know of his photography,
a lot of it had to do with challenging, exploring and challenging the ideas
of human beauty, mostly female beauty, the female form.
(46:10):
And there are two books, two projects that stand out in my mind.
One's called Shekinah, and the other one's called the Full Body Project.
Shekinah, I believe, is a Hebrew word, and the meaning of it escapes me right
now. But essentially, the...
(46:30):
The idea, the conceit of the book is the exploration of female beauty,
pure female, godlike, divine beauty in the face of a profane world.
So it's a kind of a complicated, you know, premise.
And so the pictures are very interesting and contemplative. And then the Full
(46:52):
Body Project is a project that he did very late in his life,
I think after 2010 or just around 2010,
somewhere in that time period,
where his models are very large.
So you'd say Rubenesque plus, I guess would be a polite way to say it. So, very large women.
(47:17):
So, he, and the idea was, is what exactly is your idea of beauty?
So, look at these people, look at these women, and challenge your perspective.
And so, I think Nimoy did some very interesting work.
I think, and I read one review of one of his books, and he said that he has
(47:38):
an eye of a sculptor, and I really like that.
I like the idea of his, the way they're lit, kind of the paleness of the skin
of some of his models. They look like they're marble.
I like, and I kind of like the idea of that.
So if you're a Nimoy fan and Nimoy completist, there's those full body project and the Shekinah.
(47:59):
There's some other work that he's done as well as when he was a poet too.
So there's poetry of his that's out there too. Oh, I didn't know that.
Yeah. There's a book I think is called warmed by love is kind of,
it was one of, I believe one of his, one of his, I think it's a book. I think it's a book.
So yeah. So that's the, I need more.
(48:19):
And I think that's all. That's quite a list.
It's quite a list. So it's not just, like I say, there's not just people who
picked up, you know, celebrities who out of vanity picked up a camera.
These are actual legitimate artists that were doing their thing or are doing their thing to this day.
And I think it's worth, you know, a little bit of crossover.
(48:42):
You know, people entitled to do whatever they want to do.
But anyway there was one there was one particular celebrity that you had found
yeah it was really that that really interested you so tell me tell me about
her okay i will tell you i'll tell everybody well it's what triggered this idea for the show as well,
i did not realize that jessica lang is a photographer and i came across somewhere in
(49:12):
the positive stuff about social media is
like you follow the right people and you start to learn things and somewhere
along the line last week or something like that a photograph of hers popped
up or actually a series of pictures and someone was saying you know jessica
lang was photographer and whatever and i did some quick research and i was blown
(49:34):
away by her work what i was looking at That was one of her,
some of the pictures from a book, her most recent book is called Highway 61.
And what I've learned about that is Highway 61. She grew up in Minnesota and
also spent a lot of time in New Orleans.
(49:56):
And what I've learned is that the Highway 61 is sort of a route that goes straight
down from Minnesota to the south, to New Orleans. And so she's traveled that route a lot.
And at some point in her life, she's, she was, Sam Shepard was her partner. Okay.
And he gave her a Nikon, sorry, a Leica M6.
(50:22):
And, but she had already been like, she had already studied photography when
she was at the University of Minnesota.
I also didn't know that she was born and raised in Minnesota and that she had
a scholarship there as well. so she's always had photography in her but I think what she got.
Incredibly serious about it, she started going off and doing these projects.
(50:45):
But she's got, she's got, I think, four books right now.
One that came out in 2008 called 50 Photographs.
And it's a collection of her photography, black and white images from like a
10 years worth of her work.
It's a bunch of different subjects. And then I was curious about,
(51:05):
I don't know if you've seen this, but she's got one about in Mexico she did in 2010.
Tenants uh she's take lots of trips to mexico and
the book focuses on the landscapes and people in everyday life her
third book was 2013 jessica lang's jessica lang unseen and they were pictures
earlier in her career that she had not shared before and it's more personal
(51:29):
stuff but the most recent one 2019 which there was a show at in new york at
the i can't remember the name of the
gallery was highway 61 and it explores the north
south highway stretching from minnesota to louisiana
and her and her travels along that and it's
mostly black and white photography it's got
a lot of the feel of the you know a robert frank you know this is america kind
(51:56):
of thing yeah you know it's just it's it's that it surprised me first of all
like i you know I'm so used to seeing her in, especially lately,
in American Horror Stories,
that series on Fox.
Yeah, and she's the one actor who appears in all the different series.
(52:19):
They use a lot of the same actors and different storylines.
Lines and i i do remember i might have
and i'm not gonna quote myself on it but i
might have met her when i was a kid because they were filming with with jeff
bridges wow king kong in new york the the remade version of it in the 70s right
(52:45):
king kong climbs the top of the De Laurentiis, yeah.
Yeah, and I was on the set when King Kong falls off the World Trade Center,
and so there's this giant ape on the plaza of the World Trade Center with these
fake bricks that he kicked up.
But anyway, so I was there on that set, and my mom knew all these people,
(53:08):
so it is possible. I just don't remember.
So anyway, and what was the name of the actress in the original?
Original fey ray king kong it was fey ray fey ray the screamer yeah yeah yeah
it was fey ray okay so yeah anyway.
I don't know why I thought about that, but anyway, so looking at her work,
(53:30):
actually at some place in front of me, where is it? I don't actually have her
pictures in front of me. Do I? I do not.
But like I was, I started doing some searches for her and like I am,
I must be the last person on earth. I didn't know.
I didn't know. You know, and you know, what we were talking about before that
(53:50):
it's, she's not just picking up a camera and doing,
you know, stuff like this, this she knows what she's doing
she knows what she's taking pictures of she's she's going and
she's doing kind of a street photography style
she's going up to people and talking to them she might she's talking
about in some of her interviews that you know there are people who who recognize
(54:11):
her but but there are a lot of people who don't recognize her you know and she's
not someone who's always easily recognized as an as you know hollywood person
and but you know one One of the things that I was reading about is that as an actor,
and maybe all the people that were, many of the people we were talking about
when they have this sort of fame status,
(54:31):
but with like actors who can, can sense something because of what they do.
Like they are somewhat a little bit more tuned to how people react and how to maybe approach people.
It's just because being an actor or movie actor or even a stage actor,
(54:51):
you are able to read people. It's all about people.
And so I wonder if that gives her some ability to, you know,
I don't know, be able to capture something or be able to see something in the
subjects that she's photographing.
So I don't know. I think that has some, you know.
(55:11):
Legitimacy in what she's doing but her her pictures really are just they were you know,
pretty surprising right yeah i'm going through them i'm just looking at this
one picture of this interior of this restaurant new orleans i think i've been in that restaurant yes,
really well the picture of napoleon like i have a vivid memory in that archway
(55:34):
i think i know where that is because we were just here my wife and i were in
new orleans in 2016 and i think we were in that restaurant.
Is that the one with the waitress and waiter? Waiter coming by.
Oh, with the waiter. Yeah, because he's got a bow tie on. He's blurred.
He's moving through the middle of the image.
I just found the gallery. It was the Howard Greenberg Gallery that she had to
(55:58):
show from November 21st, 2019 to January 2020.
So I'll put the link in the show notes, but the one I'm seeing is a diner.
There's a picture of a diner with the waitress and you can see all the breakfast
menus and stuff like that.
But there is some, actually I wonder if I should send you the link so you can
(56:18):
see the same pictures I'm looking at.
I can see, yeah, she's kind of bent over the table and there's the menu. Yeah.
And it's funny because these are more, I would say more modern pictures,
but they certainly look like they were pulled out of time.
Like she's She's going down this road and grabbing, you know,
(56:40):
people and locations that are, you know, they look like they're stopped in time,
you know, but they're not. They're more, you know, they're more recent pictures.
There's this one shot of a gentleman in a room with like all these dolls,
(57:01):
like hundreds and hundreds of dolls against the wall and on shelves and stuff
like that. She goes for the grainy look too.
Right. So her, her works black and white. It's very grainy.
So anyway, it's, it's, it was a surprise to me, you know, this was the whole
idea of like, you know, I knew there were some celebrities who were photographers,
but for some reason, Jessica Lange was just, and I didn't realize how good her work was.
(57:25):
Like this work is very, very compelling. It's worth, it's worth buying a book
if she, if there is a book of this, of this work.
I'm definitely going to get one if I can find one. Just what I've seen.
Yeah. I'm looking at lens culture magazine here.
I guess it's a review of the, of the book with, uh, eight or 10 images from it.
(57:46):
So yeah, that's very, I also didn't know she was from Minnesota.
So it was like, you know, that part I didn't know. I didn't know she was from
Minnesota, but I didn't know about the photography part.
Yeah. So you can do a search for her on YouTube. There's a bunch of,
there's a bunch of interviews with her about, about her. Oh,
great. That's the best. Yeah.
Yeah. Yeah. I didn't, and I didn't know that she was, I don't know why I didn't
(58:07):
know she was partnered with Sam Shepard.
So what a combination those two must have been. Great playwright.
Yeah, yeah. Also, great looking couple too, I would say.
They're both beautiful looking people. So they must have made a head's turn
when they walked by. But it was really cool that he gave her a camera.
(58:28):
I think he got it from a movie too, from a movie set.
So I guess if you're Sam Shepard, you could walk off the movie set with a Leica.
I mean, Jessica could take her wardrobe with her, you know, I don't know, whatever. Yeah. Yeah.
So just, you know, to find that not only are these folks doing these things
(58:52):
in front of the camera, but they're doing behind it and how they get access because of who they are,
which they can use to the benefits of taking, you know, really cool pictures.
You know, if you're able to, to say, you know, I'm this person and I can get
in someplace and, you know,
That's cool too, you know, and, and by them sharing what they're seeing,
(59:15):
you know, I'm thinking of Jeff Bridges behind the scenes stuff,
or even like, we didn't talk about him, but Gary Oldman was also a photographer.
He's done some behind the scenes stuff as well.
And who else was I going to say? I think, uh, when you were talking about musicians,
I thought, I thought Ringo Starr also did photography of the Beatles earlier on.
(59:35):
I know there's a book from McCartney that just came out in the last year or so.
That he just happened to, I think it was in 64. It was just a very brief time
where he picked up the camera.
Now, I have not gone through that book, so I don't know whether it's any good
or not. I think there's certain interest in it for sure.
But I did not know about Ringo Starr. Ringo Starr took pictures.
(59:57):
I mean, Harrison did as well.
There's this great selfie of him in front of the Taj Mahal that I remember.
I mean, I guess it was something that a lot of people did. A lot of people carried
cameras with them. So, I mean, we all have cameras.
But let me think about Jessica Lange. So, yeah.
(01:00:18):
Well, anyway, I would spend some time with her work, you know.
Definitely worth seeing. And I think she's coming out with another book.
There's also, that's what I heard, there's also going to be a documentary about
her and her photography. Oh, fantastic.
That's being produced now. Now, I don't know what the name of it is,
but when I was researching her
for this, I did see that there was this documentary coming out with her.
(01:00:41):
Like I said, on YouTube, there's a few interviews with her about her photography.
I think it's one with 60 Minutes or CBS or something like that,
where she's walking and talking, photographing on the edge of Lake Superior,
I think. Oh, interesting. But anyway.
Yeah, yeah. Back home in Minnesota, maybe. yeah it's
(01:01:04):
great to see is it's just it's a pleasure to see
these these this work from these people
who i we i'm so used to seeing in other situations you
know and and in a sense it's almost like
we have this connection with them too as celebrities you know it's like well
we're sort of seeing the same thing or we appreciate the same thing and and
that means that we're all sort of brothers and sisters in light that's sort
(01:01:28):
of in a way you know yeah oh that's so yeah yeah it was Again, a surprise.
It's sort of like what we were doing last episode. It was like a new photographer
who pops up on our timeline.
This is someone who's not necessarily a new photographer, but I just wasn't
aware of what she did and then how good she is.
And all the photographers we're talking about, you know, Dennis Hopper and Bridges
(01:01:49):
and Graham Nash and all these guys are just taking really, really good work.
And so, yeah. Yeah. I think so.
I think that's about it. That's all I can say about her. So I didn't see any
of her. I didn't see any of her work at the, at the iPad show.
There's something wrong there. There is something to sell a few more books. Maybe.
(01:02:10):
You know what? I was curious. I wonder if the Greenberg gallery was there and
maybe I didn't, I didn't see them because there would be surprised.
There's a lot of main galleries at that, at that show.
So anyway. Yeah. All right. Cool. Cool. Yeah.
So, and I, I think that just wraps that part up, but I completely forgot to
(01:02:33):
mention at the top of the show.
So I'll mention it now. I want to say thank you to some of our listeners who bought us some coffees.
Totally spaced out, but now I remember. So I want to thank Justin Jones who
bought us three coffees.
He says, still my favorite photography podcast. Thank you, sir.
Thank you so much. You hear that? Our sister in light, Sid bought us a coffee.
(01:02:58):
And her comment was still the favorite photography podcast of Justin Jones.
And, uh, yeah, good one. So thanks Sid.
And John Wayne, not that John Wayne, the other John Wayne also bought us a coffee
in March and I forgot to mention him to say thanks.
So I want to make sure I say thanks to everybody.
(01:03:19):
We didn't forget, although I did, but I want to make sure we,
you know, you, all you guys as buying us coffee means I'm caffeinated for the rest of the year.
But no, thanks for supporting the show and buying us coffees.
Thank you very much. So that's the end of this.
(01:03:40):
Where are we looking for you in the world, my friend? You can find me on Vero
and X, formerly Twitter, at.
WRawsonPhoto. That doesn't feel natural. No, it doesn't.
On Instagram, you can find me at WardRosinFineArt, where right now,
if you hurry, you can see pictures of inflatable dinosaurs.
(01:04:04):
On Facebook, you can find me at WardRosinPhoto, and my website is rosin.ca, that's R-O-S-I-N.ca.
And our unofficial sponsor is my little website, where I sell 7Artisans and
Fotodiox adapters and 7Artisans lenses, And that is Ornis.photo, O-R-N-I-S.photo.
(01:04:28):
What about you, my friend? Where can we find you? Well, wait,
before we do that, are you going to get, are you going to get that 7Artisans Tilt Shift lens?
Um, I'm thinking about it. I've got to get a few more sales before I have enough
to make another order, uh, from.
Yeah, well, there's a 7Artisans Shift, Tilt Shift lens that's on available for X-mount and M43 and, uh.
(01:04:53):
I think Sony as well, maybe. I would. It's like $225.
Tilt and shift. Well, okay. Well, I've got some ideas for some others. It's a 50 millimeter.
Oh, that's. On the Fuji, it's an 85 for a 75. Yeah.
It's pretty long for a tilt shift. I wouldn't have thought it would.
Well, my Nikon tilt shift was an 85 millimeter.
(01:05:14):
Really? I always think of them as being wider for architectural.
Well, what do I know? Well, that's a perspective controlling lens. Anyway.
Oh, okay. We're getting into the weeds. PC lenses. Yeah. There's,
there's a bunch of, well, that's for another, that's for a later discussion. So.
Alrighty. Yeah. Oh, you were asking me. Yeah. Where, where, where can we find
(01:05:34):
you with all this distraction going on? You can find me sitting in front of my computer.
Uh, I'm going to just say Vero and Flickr at AM Rosario. I'm going to give up on X.
Instagram at AM Rosario photo. P-H-O-T-O. website
is amrazio.com our website streetshots.photography
(01:05:54):
and we've we've
had a lot of people subscribe to our substack newsletter
lately so that was great barry and
x gave us a shout out he signed up and uh yeah so sign up for our streetshots.substack.com
newsletter which i put out one recently and i'm getting inspired to do another
(01:06:16):
one so do that and you can leave us a voicemail at speakpipe.com slash street shots.
So it's great to, if you have a question, you want to have a discussion with us, just drop us a line.
And if you do want to support the team like, uh, Sid and who else?
(01:06:36):
Sid and John and John and Justin, uh, you can buy us a coffee at buy me a coffee.com slash Antonio Rosario.
Music.
Telling, teaching me about all these, these celebrity photographers.
(01:06:59):
Some of them I didn't know.
Yeah. I'm happy to do it. And it's kind of a cool, I mean, I do watch some of
these behind the scenes, you know, actors sitting in a round of table talking
about the creative process and stuff that sometimes it interests me.
Sometimes it doesn't depending on the egos, but I really like this whole idea
of, uh, Uh, many of them that we know and like from the screen are also very.
(01:07:24):
Music.
Good at, uh, at photography and that's, uh, yeah, that's the best I think.
All right, my friend and everybody, thanks for, uh, hanging out with us tonight.
Thanks for hanging out with me tonight, Ward.
Appreciate it. Always a pleasure.
Always a pleasure. And, uh, for everybody else, we'll see you in a couple of
(01:07:46):
weeks and, uh, enjoy your spring springtime for those of us having spring.
Those of you on the other side of the world, enjoy your fall, autumn time.
Music.
And we'll see you in a couple of weeks. All right. Good night. Good night.
How many altogether? Can you get into it? The count, they are,
(01:08:10):
this is the first time they're counting it by drone.
So everyone that came in that was in the inflatable outfit got a wristband.
And so there's the potential of how many people there.
Then they're flying over with a drone and they're using AI to count the number
of people who fit the profile.
So they're saying it's over 2,000.
And the world record before was 186. Yeah, so we just obliterated it. Just obliterated it.
The wonderful thing about photography is that it's a solo act.
It's just me and the camera.
The common denominator is that we all want to make something beautiful,
something relatable, something we can look at and say, shit,
yeah, man, that turned out better than I thought.
Music.
(00:30):
Hey, welcome to the Street Shots Photography Podcast. This is Antonio. And this is Ward.
And this is episode 206 for someday in the future.
I'm sorry, for the end of, I'm spacing out. For the end of April 2024,
(00:50):
already we're in the end of the fourth month of this year, a quarter of the way through.
Springtime in the Northern Hemisphere. Yes.
Springtime. Yeah. We're, we're, we're having a very long spring here.
I don't know about you, but it's just been, although tomorrow,
today was 70 degrees. Today's Sunday.
And tomorrow, Monday, it's supposed to be 85 here, which is almost air conditioner weather.
(01:17):
Weather so so for me the temperature got up as high as 48 degrees oh that's fahrenheit.
That's actually a nice that's a nice temperature yeah but
it will be just in the 50 it will be in the
high 30s midweek yeah okay it's
if you want to say it's a long spring we call it what do we call it
(01:39):
there's the this part of the
country have like seven seasons one is like despair air
the false false yeah it's fall spring yes
yeah winter of our discontent yeah yeah
well then when when i don't know if it happens with you guys and but when we
have a cold spring like the flowers last for a very long time and the trees
(02:00):
take seems like they take a longer time to come out so the green is like nice
and slow and just feels like this nice elongated kind of a beautiful time.
Although it gets kind of cold. Like last week it was, we had temperatures down
to the thirties and it was windy and it was flipping cold.
I was like, so, but it just seems to like, are we have these tulips in front of our building?
(02:24):
They, the, the gardeners planted nice tulips and.
And it's almost like botanic garden quality. Like they look really nice.
You walk around my neighborhood, some of the, some of the areas,
some of the buildings are houses in our, in our neighborhood.
They're just, it's, it is, it's like walking through a botanic garden. Very cool.
(02:44):
Really nice thing. So it's the longer these last, you know, the nicer it is.
So, you know, I was walking around today with my camera and taking some pictures
to show people like, look at, look at our area. Look what is nice.
Wow. Look how nice it is. No, for us, it's just the green around the edges of
people's lawns and in their backyards. And that's it.
There's no, well, there's crocuses that have come up in the middle of Marcy's
(03:06):
garden in the front yard. You guys have cherries too? Cherry trees?
No, no, we don't have, we have, no.
It's not the right environment. It's not the right environment.
We have, it's a kind of a cherry.
It's like a mock cherry that you can, that grows here, but it's not a true cherry tree.
Ah, but it's still flowers. Yeah. Oh yeah. Yeah. Yeah, but that's not for another
(03:26):
two, three, four weeks when there's blossoms.
It'll be mid-May when the apples blossom.
Yeah. Grab apple trees and so on. Our cherries, yeah, all the trees are now
blossoming, and we lost the magnolias. Those things don't last that long anyway.
They get butchered by, you know, you sneeze on them and they turn brown.
(03:51):
But, yeah, it's really nice. It's, it's, I like the longer springs.
So, but tomorrow, 85, you know, okay, sure.
Whatever. But anyway, so that's the weather for all those people who are listening
to this in the, in the far future, so much for an evergreen show, right?
It's going to be a, yeah. Well, who cares about the weather in April of, you know, 2024. So yeah.
(04:18):
How are you in general? Really good. I'm a little tired.
I went to an event in town in a little city about an hour and a half away east
of here called Drumheller.
I got to document through my own fine art vision the successful Guinness Book
attempt at the maximum number of people who've gathered together in inflatable dinosaur costumes.
(04:44):
Some 2,000 or more. It's probably never been said until today, you know? Yeah. Yeah.
How many? Over 2,000, they estimate.
What was the previous record? Less than 200.
Whoa. So we kicked the stuffing out of that one.
And you've got photos of this? I have photos of this.
(05:04):
I have coverage and I have my idea of fine art, like a guy walking around in
an inflatable dinosaur costume, like trying to turn it into art, man.
Yeah. Well, 2000 of them, that's a, that's a natural art project right there.
It doesn't even, it goes beyond Guinness book of world records.
(05:25):
That is, that is human art or dinosaur art.
There was a band there, the color, the noise, the music, the families together.
Like it was fun to just be around something that you do just for the fun of it.
There was no, you gotta do this.
There's no seriousness. and there's no heaviness in it. And that was amazing.
(05:47):
And it's like, even as we're still recovering from, you know,
the end times, whatever you want to call them, the pandemic,
there's still this like, oh, this is something we can actually do and have fun
and do something different.
And in the moment and then the energy, when you have a group of people,
(06:08):
any kind of large group of people, and everybody's doing the same thing.
There, there's something special that comes out of that. And then you're photographing it,
which is gotta be an incredible experience just, you know, to be looking at
all this stuff and like, where do you start and how do you, and one of my,
everybody looks the same, all the, all the dinosaurs, this, yeah.
(06:30):
One of my street photography at acquaintances was the official who flew the
drone over everyone. And I guess the Guinness organization is using AI to count
the number of people in the street to give the official count.
Really? Yeah. Yeah, I'm curious how that works. Yeah, I'm curious too.
So we'll find out about it in the next few days and it'll be interesting.
(06:53):
Well, you certainly, I mean, you could probably tell that you beat it,
but you got to figure out the exact number of people or at least the closest that you can get.
Yeah. for the next one because the next one they're going to try to beat it by one person,
or one dinosaur i should say yeah but
then all the people who who are
there now they all have these dinosaur costumes yeah what's your point so you
(07:16):
can always break the you can always break it again you know you're just something
you have to add well that's true if the event's going to be nearby more absolutely
yeah yeah yeah so that's great you've got to i got to see these pictures We've
got to share at least one of these pictures.
And for those people who are in the record attempt who might be listening to
the show, please send a picture. Yes, absolutely.
(07:39):
From the inside of one of these suits. There were some familiar faces in the crowd there.
How could you tell? Well, no,
not the ones that were dressed in dinosaur costumes, but friends of mine.
I see. My artist friend, my artist friend Vicky and Carrie Schatz, who did the drone work.
Yeah no it was very cool oh awesome you know to experience something like that
(08:02):
i think i was telling you offline that we the closest that i think we've had here was the uh,
santa con which happens around christmas and it's the thing that you don't want to be around.
It's a different vibe it's a different demographic different vibe it's it is
turned into this there's one thing about seeing a thousands of santas that's
(08:23):
got a bit of a fun thing to it but the The problem is that they all go bar hopping
and then they end up throwing up on the subways and it becomes this red plague.
You know, if you're watching it from above with a drone, you're seeing these,
you know, and nobody's wearing the beards. They're just wearing the hats and the, and the coats.
And you just want to leave town when this, when this, when this pestilence sort
(08:44):
of meanders around the city and it goes up the tree. You just don't want to be here.
I propose that you guys like,
All come to New York in Christmas and bring those T-Rex costumes and put a little red hat on it.
And then, you know, we could see that just built in silly. We'll close down Broadway, man.
(09:06):
Yeah. And people can't drink. You can't. Well, actually, you probably could
drink in those suits, right?
I think you threw the screen. My wife and her girlfriend, it is possible to
withdraw your arms and have a little nip. Yes.
Inside the costume. Inside the costume, yes. Oh, see, that was, okay, yeah. Yeah.
But bear in mind that there were a lot of families here. That was not the spirit
(09:26):
of the thing. Right. Right.
But. Yeah, this is all frat boys. Right.
And if anybody is listening to this who's in Santa Con, I'm sorry if I'm insulting
you, but it's ridiculous and it's got to stop.
You guys have taken over the, anyway, okay. We're done.
We're done. We're going into Christmas. We're done with the holidays and stuff. So pictures pending.
(09:49):
Pending we'll put that in the i'll put that in the show notes
for you guys so anyway well while you're
you know documenting thousands of tyrannosaurus
rexes doing their thing i went to a photo show in the city which is a yearly
show called the apad well it's a show from this organization called apad and
(10:13):
it's the apad stands for the association of international photography Photography art dealers.
So AIP, I PAD, they call it the photography show.
And I think last year was it was last year. I went and had a little,
I think I probably talked about it on the show back then.
And this year it was in a different location than it was last year.
(10:36):
Last year's location was kind of cool, but this one is even cooler.
It was a, an empty armory.
In on park avenue and 63rd to
64th street which literally takes up the
entire block so if you know what a city block looks like
it goes from 63rd to 64th let's say
or 64th to 65th i'm not sure the exact and then from park avenue to lexington
(10:58):
avenue so it was an armory you know where they kept arms and stuff for soldiers
and stuff like that now it's used for art exhibits So it's a giant dome structure
and like an empty castle in some way. Wow.
And the APAD has had their shows there in the past.
(11:19):
Last year was the first show from after the pandemic.
This one felt bigger in a lot of ways because it's just the space was bigger.
So anyway, I went. I signed up for three days. I only went for Friday and Saturday. I didn't go today.
I thought I'd take today off. I was just like, I seen a lot and I'm going to,
(11:39):
I walked through with my video camera.
So I'm going to post up on YouTube, just a walkthrough. Okay.
So you can see what it, what it looks like. So I'm going to edit that and put that up.
And highlights that you can share now. Well, yeah, no, I'll share some,
I'll share some highlight.
Well, first of all, you know, you go through a show like that.
First, it feels like you're going to, sorry, you, I hate when I say that for
(12:02):
me, when I When I go through a show like that, I feel as if I'm in a museum
that's been like, like concentration, like it's a concentration of art, right?
You know, like frozen concentrated artists, this is frozen concentrated photography.
And because it's all these galleries that are showing, there's a lot of old
(12:22):
photography. There's a lot of historic photography.
There's a lot of, uh, new photography, new, new styles and stuff like that.
New photographers. And they're all galleries, right?
So they're showing off what they have. You can buy prints that they have.
Some galleries will have.
Yeah, I was looking through one of the matted print displays that they had.
(12:43):
And, you know, I'm picking up a print.
I can't remember who the photographer was. You know, it's like $10,000,
right? And it's just in a matted print.
I came across, hang on, there was a Brett Weston shot.
No, sorry, Edward Weston. every western shot
of dunes oceano 1936 it's
(13:03):
a silver gelatin silver print mounted on an
illustration board dated initialed and
dated in pencil on mount signed titled and
dated blah blah blah private collector 120 000 okay and i'm staring at this
print right in front of my face it's it's actually probably a little bit smaller
(13:25):
than eight by ten and i'm not even sure that's But there's a lot of imagery
there where the prices were...
Straight off the you know okay you look
at the price you go sure yeah not me
well you know there was yeah there were some pictures there that were nice that
were like in the less than a thousand dollar range and you know if i was a collector
(13:49):
i might buy them i'm not a collector of photography like this like you know
i i i look at it and i appreciate it but it's lost on me in the sense Like there would just not be,
I'm not the right person to own it.
I would, I don't mind having a print of some of the imagery and like hanging
up on my wall, but not as a collection kind of thing.
But, you know, coming across, oh my gosh, who is this? Let's see.
(14:14):
I'm looking at all these pictures. There's one, one photographer's work.
What was her name? Uh, Deborah Turbin.
Turbaville? Turbaville. Yeah. Deborah Turbaville. And it was a whole bunch of
her Polaroids, all these Polaroids that she had made while for, for other shoots.
And a lot of them were the old ones that, that turned Brown,
(14:36):
like sepia, if you're not proper.
And they were themselves, the, the art pieces as well. And I was,
I was totally drawn to those.
Um, there were these great little sequences they're doing and the,
and the fading colors and the scratches and the prints were kind of bent.
And I don't think none of that was, you know, made to, to be that way.
It wasn't like she affected the prints.
(14:57):
These were just like prints that she had in a box someplace that she stored
from shoots and, and then took them out.
And they're like masking tape has turned yellow and stuff like that.
So those were really fun to look at.
One photographer's work, which caught my eye was this woman named Francesca Woodman.
(15:17):
When she had photographed a bunch of nudes and stuff, a lot of them were in
Providence, Rhode Island. Actually, one of her prints was, again,
another one for like $60,000.
And this was like a small print. I was really, again, I'm curious because I'd
never heard of her work before.
I'm not, I'm not this much. I didn't know the name. I don't,
I can't. I knew Deborah Turbeville a little bit. No, I know of her.
(15:38):
But not Francesca Woodman. But not Francesca Woodman, no. No.
This prints a picture of three figures, three nudes in Providence, Rhode Island.
Again, well, I'm not, and there's a red dot on it, by the way.
Yeah. So someone, so it was an $80,000 print.
Now, of course there's lots of, you know, we're talking about the history of photography here.
There was a, uh, William was a Talbot shot there.
(16:02):
So we were talking about like the origins of photography, pencil of nature and so on.
Yeah. There's, there, there was a whole wall by the way of, and we got to do
a, we have to do a deep dive on Tony Vaccaro on his work.
I met him once and then he signed one of his books for me that leaving,
leaving Germany or no entering Germany.
So it was the end of the world when he was with the soldiers entering Germany
(16:24):
after World War II's ended.
But there was a lot of his other pictures there. Like there's this great shot
of Jimi Hendrix and Mick Jagger in front of what looks like,
I think it was a Porsche or something like that. Okay.
This other great shot of a woman standing in front of the Guggenheim and she's
wearing a hat that looks like the Guggenheim.
Oh, yeah. I know that. I think I know that picture. That's a great shot. It's fantastic.
(16:45):
So, I mean, it's an endless, it's like I took lots of pictures.
Was the nice thing about that place is that nobody busts your chops about
you know everybody's walking in with their phone everybody's taking pictures of the photos off
the wall so now i've got plenty of stuff for my photo journaling
okay by the way you know because i'm i'm not so concerned with
you know necessarily the quality i'm more concerned about getting
the getting the picture but there's just
(17:06):
i come out of that well first
of all it's the same thing that you
were in a way describing about the experience with
the tyrannosaurus people it's like an overwhelming overwhelmingness
i i'm walking around there with my mouth open like
i'm gonna catch flies because again i'm
i'm seeing stuff that that is
(17:28):
from my history from what i've read about you know like everything that we talk
about it's it's there it's concentrated it's it people are talking photography
there's there's a you know there's a lot of gallery talk and there's people
buying lying stuff. And you know, I'm not in that crowd.
Obviously I'm in the crowd of just like, I am. I want to look at pictures and
(17:49):
it's hard not to come out of that show and.
With a lot of feelings. So for me, it was like, you know, I ended up walking,
doing a long walk to the subway.
Instead of taking the close subway, I did a longer walk to the subway.
So I walked up to 57th street and then across the sixth Avenue.
So it's a bit of a walk, about a mile walk, but with my camera,
(18:11):
because like, you know, I'm jazzed to, to take pictures.
Nothing is going to come. Nothing is going to come looking, but it's just, it's an energy.
And there's also this part of
me that that again this is not a it's not the predominant part but i would be
lying to say if it's not there it's like what the hell am i doing you know it's
(18:34):
like i see all this photography and this work and this is this beauty and i cannot help but compare.
What i do to what these what i'm seeing in this in this stuff now that's not
fair i get it but i I'd be lying to say it doesn't, it doesn't happen.
You know, you come back and to say, well, this, these kinds of pictures or this
(18:57):
look or something like that, I'm not going to get these kinds of,
I'm not going to get pictures that are going to sit in the gallery between,
you know, 63rd street and 57th and eighth, you know, and, but I want to, but I'm not.
And I, I just come out thinking like, what am I doing?
You know, and it can take it two ways. Like as motivation to do more,
which is, is fine. take it to also be you know.
(19:23):
There've been a lot of photographers. I mean, you know, there's a, it's a pyramid, right?
In a sense that there's that small group of photographers who are high functioning,
who are doing their thing.
And that's an, any, I think that's in any field, right?
We, we, we ought not to in general feel bad about it.
And I can't help but feel bad about it.
(19:44):
So it's, it's a mix. It's a real mix and it's not a bad thing.
It's, I don't think that's bad. And I'm, you know, I'm not beating myself up
or it's not doing any of the bad stuff. Like there is an inspiration.
So, so there's that. And so I went on Saturday as well.
We did the same walk around. I looked at the things a little bit closer.
(20:04):
Talked to a few more, talked to a few more people.
I missed what's his name? Who was supposed to be there? Roger Deakins.
Roger Deakins was there doing a book signing. I missed him because I,
I got there past one o'clock when he was talking. I did see Bruce Gilden,
but I didn't take a picture of him.
He was in the publishing section. There was a section with books.
(20:25):
Oh, good news is I only walked out of that show with one book. Okay.
Well, that's not necessarily good news. Maybe you should have half a dozen.
No, it is for my wallet. Oh, for your wallet.
Oh, I see. For my wallet. Yeah, no. Speaking of collectors. There was a lot. Yeah.
Well, there was a lot of books there. They had actually a larger book section
than they did last time. So that's why I think this was a bigger show.
(20:48):
There was a lot more publishers there in a separate section.
And there was some really nice, there was some really nice Japanese books.
And I was looking for photographers that I knew because I didn't want to suddenly
just pick up a book and buy something.
So that kept me away from a lot of the books. I did on my way out,
find a Ruth Orkin book called women.
(21:09):
And I stopped and I looked at it and like, I, I'm aware of her work kind of,
you know, It was just street photographer, but this book was all photographs
of women from the, in the forties and fifties.
On the street, like street photography of women.
Oh, not just street photography. No, there was street. There was,
there was portraiture. There was like some investigative stuff.
(21:31):
There was like behind the scenes of movies with some actresses,
like Angie Dickinson. Oh, cool.
There was a following. It seemed, I didn't look at the names yet of the people
who were in the pictures, but there was one, like multiple shots of the same woman in different.
Situations like at home and at a job or something like that.
And it's very much, there was a lot of New York feel to some of the pictures
(21:53):
and there was just that time period before my time.
But like, I have some sort of resonance with, with that time period and, and in the photography.
So it was $40 and I thought, okay, well that's reasonable.
Right. You know? So I walked out with that book and it was, it's a great book.
(22:14):
It's maybe we could, we should do a deep dive on Ruth working.
Cool. Because I think maybe, I don't know how many people know about her, but yeah.
So anyway, who else? There's endless stuff. There's one photographer that would
have fit our, our previous show.
When he was talking about Wilhelm Hammershoy, right.
(22:35):
I came across a photographer whose work, some of the pictures resonated.
Her name was Ilona. I'm going to, I'm going to pronounce this wrong. So forgive me.
Langbroek l-a-n-g-b-r-o-e-k dutch
okay but sure she has
a series called silent loss and there was some imagery
in there that you know i swear was
(22:58):
you know inspired by like a hammer shoy style photography but there's also figures
in in these things as well so it was really it's great to see and it was great
to look to walk up to pictures and like not look at the plaque or sometimes
the The names weren't there. And I was like, I know who that is. Right.
Like, like I knew a Gustav LeGray when I see it. Yeah. I was like,
(23:19):
I was impressing myself. Oh, Gustav LeGray. Cool.
That, then those are, they're vintage prints too, are they?
Or many of them? They were the vintage prints. Wow. Yeah, I went right up to,
I went up to one of them and I was like, I looked at it and it made me smile.
You know, I must've looked like an idiot because I'm walking around there.
I was, besides my mouth being open, but my mouth was open in a smile because
(23:39):
it was, Because I don't know how I, you can't walk around this stuff and not
feel moved and in awe of it.
And so when I saw this LeGray picture, photograph, the print,
I'm looking at it, I'm like, I don't even have to look at the name.
And I looked at his name is signed on the print.
I was like, that's a Gustave LeGray. Like, I know that.
(24:00):
And so I was very proud of myself to say, okay, this stuff is.
You know your stuff, man.
Yeah, I know. I know some of my stuff. I know, you know, the basic stuff.
I know the Westons and stuff like that, but there were pictures from people
who like, oh gosh, I can't remember.
I can't remember some of the names, but I was a bit surprised that these were
(24:21):
pictures from this person.
You know, that didn't strike. Oh, Martin, some, some of early,
uh, early work from Martin Parr.
Okay. Because his work was really a lot different than it is now.
It was black and white and it was more documentary, like straight up documentary.
Yeah. Kind of inky blacks.
Yeah. Welsh miners and so on. Yeah.
Yeah. And then like, these were abandoned cars on the side. It's a lot of bit
(24:43):
of the humor in it, you know? Yeah. But so there's that, there's that surprise.
There's the, you know, I did see a picture of somebody I know. Oh, cool.
Yeah. Well, it's a photograph by Terry O'Neill and I'll put this in the,
I'll put this in the show notes.
So it's a shot behind the scenes of a movie and it's Frank Sinatra walking with an entourage.
(25:04):
And to Sinatra's right is a guy dressed up in the exact same suit.
And his name is Alex Stevens. Stevens and he was Frank Sinatra's stuntman for a lot of films.
And so he was friends with Frank Sinatra. Anyway, Alex Stevens was someone I
grew up with. So I knew him. He was a stuntman.
He was the president of the East coast stuntmen's association.
(25:27):
He dated my, my, my mom and my mom worked in the stunt organization.
And, and so I'm walking around and I'm looking at the print and I just started
to chuckle because I'm like, Oh, and now I can see who that I've seen the picture
before, but I didn't know who the, who the photographer was.
And I was like, Terry O'Neill.
I was like, oh, that's interesting. And, you know, I, I, I go and I take a closeup
(25:48):
picture of it and, you know, Alex Stevens does not look anything like Frank
Sinatra other than like their body might be the same and they're wearing the same suit, but facial.
But anyway, like I was, you know, to see that connection, to,
to look at the picture and say, oh, I know this guy.
And now I know the photographer is, and, you know, you know,
(26:09):
here's someone from my past that there was that six degrees of separation kind of thing kicked in.
So I don't know. It was just, it, it,
You know, maybe two days was enough because it is very overwhelming.
And at a certain point, like how many times can you see the same pictures?
But, you know, if anybody can go to a show like this, if you're around someplace,
I mean, I'm privileged because I'm in New York and this is where they have the show all the time.
(26:31):
But if there's any chance for you to go see something like this, go to it.
It is just indescribable.
If you love photography, you know, and just don't go with your checkbook because.
Cause just go appreciate the work.
Yeah. Yeah. And you know what? There was some modern stuff that I,
I was really pulled into. There was one picture. I'll just talk about it quickly.
(26:56):
It was a big picture. It was a 45 by 33 inch chroma jetting print by someone named James Welling.
And it was called torso one through 18.
The limited edition of five was $15,000, but it was this great image.
Of, let me look at it closely here. You know, the screen material that you have
(27:19):
for windows, the screening material, you know, for your screen doors and stuff like that.
It was this material cut just fine.
Into this strip and just sort of hung there and it's blue and the background
is blue, but it's, it's, it's folded in such a way that it mimics and it almost mimics a human form.
(27:39):
I don't think it was like folded to look human. It just looks like the way it's, it's draping. Wow.
You know, it kind of reminds me in some way of the, is it the Edward is the
Edward Weston shot of the, of pepper number 30, right? Yeah.
Yeah. Yeah, like in that same vein. Oh, I see. The pepper itself is not human,
(28:00):
but it evokes humanness into it.
Right, you pattern match. I'm like, oh, this is like a human form. Yeah.
Yeah. Now, this one was called Torsos, so it's obviously designed or was made
or shot to look human, but it's got that same feel. It's this found object.
And I was really pulled to this picture. I mean, there's like,
(28:20):
this would be like, if I was going to, I don't know, if I could make one choice
of some photograph to buy, like, I think I might, I might love this.
Cause I really enjoy that kind of idea where a photographer can make something
look like something else.
And I, there's something very, I don't know, it's the word something. I don't know.
No, like the photographer could notice something, someone who can notice this,
(28:42):
you know, who can see something in something else that like,
you know, I would say civilians don't see.
But you know that people who are not photographers or
maybe not artists don't see it it's like almost
like a secret language anyway so i yeah i mean that's saying a lot but if i
did have to run out run out with one picture like if you know i had all the
(29:03):
money and i had to one out with one i think this would be the one because all
the other ones even the old stuff is like you know collectors this one to me
looks like something that's just beautiful to look at you know like have that
thing hanging up in front of,
you know, the wall all the time and just being able to stare at it and stuff
and have my imagination go. Anyway. Cool.
So yeah, really, really, really good experience.
(29:26):
And, uh, what was I going to say? There was...
That was my that was my weekend so it sounds like we both had some some interesting weekends.
Music.
(29:49):
Sometime during the uh during the
past two days i got sort of
wind of some celebrity photographers meaning
not a celebrity photographer like a like
a famous photographer but a celebrity who is
also a photographer so i thought
maybe we could talk about those people yes i know last week we were talking
(30:11):
about you know newly found photographers and i was like well i was not aware
of certain celebrities who pick up the the camera and take pictures yeah and we're not talking
about necessarily or i don't think any of the examples we're going to talk about tonight,
are just doing it for vanity they're actually
(30:33):
very good photographers that we would have their books and i have some of their
books so that that's one thing when we're talking about celebrity photographers
we're not just talking about celebrities who happen to pick up a camera these
are actually artists with a camera yeah before you kind of poo-poo what what
we're about lot to talk about here.
Yeah. And again, my, you know, I'm still, I still feel like I'm learning about
(30:58):
photography and photographers.
And so some of these people that are on the list, I know, like I know they're
photographers, but not all of them. Like I didn't know,
you know, all these people were. So let's go through your list first,
and then we'll follow with mine.
But I have something to say about your people.
Okay, so if we're going to start with celebrity, think about Hollywood first.
(31:22):
And so there are two gentlemen that, in my mind, stand out the most,
and they are Dennis Hopper and Jeff Bridges.
Now, both of them, what binds them together, besides that they're both Hollywood
actors, You know, one thing we appreciate about photography.
Particularly in sports and things like that, is their privileged access to the event.
(31:48):
Like, you know, you're shooting a hockey game, you get to have big strobes in
the venue and blah, blah, blah.
You're there and because you're in a privileged position, you can take pictures
of things that normal humans can't.
And so that's where these two guys come in to play.
With Dennis Hopper, he did in his earlier film career, early sixties.
(32:11):
So from 61 to about 67, he was very, very active and he was 35 millimeter tri-X
shooter, black and white.
And he covered his life with his co-stars and behind the scenes and on the set.
And so you get a privileged access into the creative process of making movies
(32:32):
and flattering ring portraits of his, of his co-stars.
So, yeah, so he was, he was most active in the mid, in early and mid sixties.
And actually a book from Tashin of his has just come back into print.
It's called, it's called Dennis Hopper Photographs, 1961 to 1967.
(32:52):
It's from Tashin. I think it's a hundred dollars US and it's huge. It's almost 500 pages.
So if you're into that and if you're a Dennis Hopper fan and you like that sort
of Hollywood hollywood 60s thing you you know that there's there's an opportunity
for you now jeff bridges what's that well before we go to jeff i wanted to talk
about dennis hopper for sure because,
(33:13):
we did talk about one of his prints one of his pictures that he took through a car window,
of los angeles a while back i don't
know what the context of the show is but i remember that i remember that picture
that he took and i think it was there was
a there was a essay written about it but anyway when so
hopper didn't he put down his camera like in the
(33:34):
early 70s so he didn't he didn't continue photography
but if he was in apocalypse now
as an american photojournalist he shows up towards the like latter half of the
film and he's covered with like nikon cameras he's got a bandana he's got he's
got the sunglasses on he's got the
(33:55):
vest with all the stuff on it he looks incredibly natural in that part.
And when I saw.
Apocalypse Now, when I was a kid, my mom took me to see it, which is,
we won't talk about, might not be the best movie for a kid to see back then. But anyway, I saw it.
And when I saw Dennis Hopper, like I wanted to be him. And I do feel that seeing
(34:19):
him playing that role as a photographer, which I didn't know he was, he was a photographer.
But he was playing that role naturally that he sort of guided me a little bit
into, at least when I was in school, I wanted to be a photojournalist.
And I was wondering where that came from.
And I think part of it came from his depiction of that. He was really cool guy.
Anyway, I just wanted to put that out about Dennis Hopper. So.
(34:41):
Very cool. I didn't know that. That's neat.
Oh, you didn't know that? No. Well, I knew he was in, I went to see Apocalypse Now too.
And I got, and I did like, well, I did, I did like, there was no,
my mom didn't take me to see it.
She just let me go. And so I just went. Oh, okay.
I went to the opening. So I was, we were at a red carpet. Oh,
(35:02):
very fancy. Yeah, I know, I know, I know.
Wow. Because my mom was in the business, but yeah, you know, he was so good in that.
He was like, you know, if is the middle word in life. Yeah.
Saying all this stuff anyway. It was just on a side note, we lost Eleanor Coppola
(35:22):
this week. She passed away.
She's Francis Ford Coppola's wife. She did the documentary on Heart of Darkness.
Heart of Darkness. The documentary about the making of the movie.
Oh, I'm sorry to hear that. Yeah. Geez. But it was just a destroyer to me while
we were in that mode. I was just thinking of her this week, actually.
So we go from Dennis Hopper. The other Hollywood guy is Jeff Bridges.
(35:45):
Now, Jeff Bridges is interesting because he uses different gear.
He uses a WideLux panoramic camera. Yeah.
And what is a WideLux? It is, they call it a, and I just looked this up tonight.
I just called it a panoramic camera. I've used them.
Have you got to use one? I dare you. Yeah. I've never used one. It says there's,
(36:07):
Well, do you want me to say that? Yeah, absolutely. Go ahead. Oh, okay.
I mean, since I used it, there's, I think, two versions of it.
There's a medium format version and a 35 millimeter version.
And I used the 35 millimeter version.
And to be honest with you, I borrowed it from our brother in life,
Keith Goldstein. Cool. Because he has one.
(36:28):
And he lent it to me for a weekend. And so it's a panoramic camera that has this very strange lens.
It's like a, it's a cylinder, sort of a vertical cylinder in the front of the
camera with a, with a hole with a lens.
And what it does is when you take a picture that spins around,
(36:49):
not quite 180 degrees, but it goes from left to right or right to left.
I can't remember the direction.
And the film gate, the back is, is, is very long.
And so it records a panoramic image from left to right. It sort of scans the
image when you're taking the picture and it's this mechanical sound, right?
It goes, and then you get this giant sort of piece of film in the back. That's panoramic.
(37:15):
That's, that's what I remember.
I think, I'm not sure if you knew different lengths of panoramic. I can't remember.
And I'm not sure if the film moves at the same time. No, I don't think it does.
I don't think it does. No, I know there are cameras that do that,
But, but this one doesn't.
And, and so what you end up with is an image pretty much like if you're using
(37:38):
the iPhone or Android phone to do a panoramic mode, like it's that kind of spinning event.
And then horizontal lines are distorted, very, you know, they're sort of curved.
You get two vanishing points, stuff like that. Anyway, we're going on too long about it.
It's a very cool device. And so what Bridges has done is he has always brought
(38:01):
this WideLux camera with him on set.
And when there's a gap in the action, he shoots on the set.
He often points it back at himself with his co-star or his director or points it back at the camera.
A selfie with him. Behind. Like he's got, well, he's got two books that came out.
One was called just Jeff Brooks or Jeff Bridges pictures and picture volume.
(38:23):
That was in 2004, and there's some images of Onset that are quite stunning,
and they're all very, you know, this wide.
I want to say it's 6 by 17 centimeters is the negative size, very wide.
Yeah. And, you know, in the original book, there's the first book pictures,
(38:44):
there's images that he took when he was working on the Big Lebowski.
So if you're a big Lebowski fan, man, you'll be impressed by that.
There's a picture of him sitting with Sam Elliott in his cowboy,
the cowboy guy at the beginning and the end of the movie, the narrator,
shooting up, you know, in the scene in the bowling alley.
It's just a lot of fun. And that kind of insider thing and how this kind of
(39:10):
warm feeling of Bridger's books that kinds of bring you in like,
you know, you're my guest, so, you know, enjoy. So that's Hollywood.
Sort of aside from Hollywood, the big Hollywood director that most of us know
of, Stanley Kubrick, he started his career as a teenager working for Look Magazine as a photographer.
(39:31):
Do you want to describe Look Magazine? Look Magazine was a...
It was a competitor to Life magazine, but it had much more of an emphasis on
celebrity and Hollywood and lifestyle.
And it was a big, big tabloidy kind of oversized magazine.
(39:51):
Lush images, fashion-y, celebrity kind of thing.
And it was definitely, definitely good for, you know, easy on the eyes to go
through those magazines.
Magazines so i think he started as a 19
year old uh working for look magazine and
he did really yeah 19 19 yeah
(40:11):
he must have been he must have been doing his eye
must have been really well like developed oh absolutely
you go through like there is a there's a
book attack another talking about tash and
books there's a book of of his work that
came out called stanley kubrick photographs through a
different lens and it starts right at
(40:33):
the very beginning of his career almost everything that that ran
in look magazine and right up until the time that
he started in in in movies they're his
images in there and they're very i would say he worked with a great deal of
precision i mean you look at his focusing everything's very deliberate very
formal very mid-century like very much the look in life magazine look that maybe
(40:56):
is a bit of a cliche by now but by then And it was cutting, he was as cutting edge as anybody.
And I would say that he, he worked with, with,
you know, great precision and, and awareness of what it was that he was shooting
to capture that actress or that
particular model or that particular situation or the family that he's,
(41:16):
that's photographing was very, is very cool.
And if you're a Kubrick fan and you didn't know anything about this,
this book is still available at Tash and it's called Stanley Kubrick Photographs
Through a Different Lens.
That's cool. So getting away from Hollywood, if we go to music,
the country music star Kenny Rogers was a fine art photographer.
(41:39):
He did medium format and he did some color work, I think, later in his career
as a photographer. What kind of work did he do?
Well, what I know him for is largely fine art black and white.
So some of it is travel work that's very,
he's got a picture of the Lincoln Memorial at night and taken from some distance
(42:05):
in a long lens on a medium format, or I'm sorry, on a large format camera, probably four by five.
With the glow of the Lincoln statue inside the memorial,
and then with darker tones, very, very finely crafted, you know,
with the tones and the pillars and the people going up the steps and the glow, the nighttime glow.
(42:30):
It's very, very arresting, very, very beautiful, fine artwork,
good tones. I'm all about the tones, you know.
Yeah. So he did stuff like that.
Another musician, oh, they've got a couple of musicians here.
Andy Summers, the guitar player from the band Police.
He picked up the camera when the Police started to get famous in the late 70s.
(42:54):
His first book was, he took during the tour of the Synchronicity album,
or when that album came out in 82, 83. Yeah, that was my first concert. Yeah.
So his pictures are not so much about behind the scenes at the tour.
It's just things that interested him while they were traveling.
(43:14):
And so it's just kind of like, I saw this, I saw that.
It's interesting from a point of view. And if you're an Andy Summers fan,
if you're an Andy Summers completist, I think it's worth seeing.
It's a 35 millimeter Leica, you know, very well, you know, past competent,
interesting and fun and thoughtful, I think, images.
Another guy, Graham Nash from Crosby, Stills, Nash & Young.
(43:38):
There's a guy who does all kinds of things.
A lot of his images, I'd say the majority of the ones that we know of,
of his, had to do again with privileged access, this time to being in CSNY,
both before Neil Young and with Neil Young.
His images, portraits, tend to be, I believe they're black and white, 35 millimeter.
(44:01):
And I think there was some color later on. There was some color.
These guys as they're, you know, in his band playing or just straight out portraiture
or Stan, he's got a picture of David Crosby standing in an airport reading a, a pulp novel,
you know, just stuff that he, you know, that only he, he, he would see or he could see.
(44:23):
And, and Nash was also known for his archival
printing service that he established the Nash editions which was a lab and i
think he he was one of the first people to privately own an iris printer yeah
i think he bought one in 89 now an iris printer is like a large format color.
(44:47):
Digital printer that you use for pre-press right
it's right it was also like a precursor to
inkjet printers i mean it's it's in that vein i
think that's how the the the with the i'm
not sure actually if that's how it worked if it i think was a i think it was
an inkjet it was like an early it was an inkjet yeah i mean i've got a couple
(45:08):
of iris prints i've had i've had iris prints made not from nash's company but
but i still have some iris prints and but he's still his company still Still, you know, produces,
you can go and have your work, you know, printed by him and is very into archival-ness of photography.
(45:28):
I did get a chance to meet him once at an interview, shake his hand,
told him how much I liked his fine art printing, how much it meant.
And he appreciated that. Very cool.
Yeah. Cool. And I guess I got one more, one more photographer to speak of.
And that's Leonard Nimoy. I know you and I are both Trekkies.
(45:49):
Trekkies, yeah. Trekkies, so, or Mr. Spock. So, his work was interesting in
that what I know of his photography,
a lot of it had to do with challenging, exploring and challenging the ideas
of human beauty, mostly female beauty, the female form.
(46:10):
And there are two books, two projects that stand out in my mind.
One's called Shekinah, and the other one's called the Full Body Project.
Shekinah, I believe, is a Hebrew word, and the meaning of it escapes me right
now. But essentially, the...
(46:30):
The idea, the conceit of the book is the exploration of female beauty,
pure female, godlike, divine beauty in the face of a profane world.
So it's a kind of a complicated, you know, premise.
And so the pictures are very interesting and contemplative. And then the Full
(46:52):
Body Project is a project that he did very late in his life,
I think after 2010 or just around 2010,
somewhere in that time period,
where his models are very large.
So you'd say Rubenesque plus, I guess would be a polite way to say it. So, very large women.
(47:17):
So, he, and the idea was, is what exactly is your idea of beauty?
So, look at these people, look at these women, and challenge your perspective.
And so, I think Nimoy did some very interesting work.
I think, and I read one review of one of his books, and he said that he has
(47:38):
an eye of a sculptor, and I really like that.
I like the idea of his, the way they're lit, kind of the paleness of the skin
of some of his models. They look like they're marble.
I like, and I kind of like the idea of that.
So if you're a Nimoy fan and Nimoy completist, there's those full body project and the Shekinah.
(47:59):
There's some other work that he's done as well as when he was a poet too.
So there's poetry of his that's out there too. Oh, I didn't know that.
Yeah. There's a book I think is called warmed by love is kind of,
it was one of, I believe one of his, one of his, I think it's a book. I think it's a book.
So yeah. So that's the, I need more.
(48:19):
And I think that's all. That's quite a list.
It's quite a list. So it's not just, like I say, there's not just people who
picked up, you know, celebrities who out of vanity picked up a camera.
These are actual legitimate artists that were doing their thing or are doing their thing to this day.
And I think it's worth, you know, a little bit of crossover.
(48:42):
You know, people entitled to do whatever they want to do.
But anyway there was one there was one particular celebrity that you had found
yeah it was really that that really interested you so tell me tell me about
her okay i will tell you i'll tell everybody well it's what triggered this idea for the show as well,
i did not realize that jessica lang is a photographer and i came across somewhere in
(49:12):
the positive stuff about social media is
like you follow the right people and you start to learn things and somewhere
along the line last week or something like that a photograph of hers popped
up or actually a series of pictures and someone was saying you know jessica
lang was photographer and whatever and i did some quick research and i was blown
(49:34):
away by her work what i was looking at That was one of her,
some of the pictures from a book, her most recent book is called Highway 61.
And what I've learned about that is Highway 61. She grew up in Minnesota and
also spent a lot of time in New Orleans.
(49:56):
And what I've learned is that the Highway 61 is sort of a route that goes straight
down from Minnesota to the south, to New Orleans. And so she's traveled that route a lot.
And at some point in her life, she's, she was, Sam Shepard was her partner. Okay.
And he gave her a Nikon, sorry, a Leica M6.
(50:22):
And, but she had already been like, she had already studied photography when
she was at the University of Minnesota.
I also didn't know that she was born and raised in Minnesota and that she had
a scholarship there as well. so she's always had photography in her but I think what she got.
Incredibly serious about it, she started going off and doing these projects.
(50:45):
But she's got, she's got, I think, four books right now.
One that came out in 2008 called 50 Photographs.
And it's a collection of her photography, black and white images from like a
10 years worth of her work.
It's a bunch of different subjects. And then I was curious about,
(51:05):
I don't know if you've seen this, but she's got one about in Mexico she did in 2010.
Tenants uh she's take lots of trips to mexico and
the book focuses on the landscapes and people in everyday life her
third book was 2013 jessica lang's jessica lang unseen and they were pictures
earlier in her career that she had not shared before and it's more personal
(51:29):
stuff but the most recent one 2019 which there was a show at in new york at
the i can't remember the name of the
gallery was highway 61 and it explores the north
south highway stretching from minnesota to louisiana
and her and her travels along that and it's
mostly black and white photography it's got
a lot of the feel of the you know a robert frank you know this is america kind
(51:56):
of thing yeah you know it's just it's it's that it surprised me first of all
like i you know I'm so used to seeing her in, especially lately,
in American Horror Stories,
that series on Fox.
Yeah, and she's the one actor who appears in all the different series.
(52:19):
They use a lot of the same actors and different storylines.
Lines and i i do remember i might have
and i'm not gonna quote myself on it but i
might have met her when i was a kid because they were filming with with jeff
bridges wow king kong in new york the the remade version of it in the 70s right
(52:45):
king kong climbs the top of the De Laurentiis, yeah.
Yeah, and I was on the set when King Kong falls off the World Trade Center,
and so there's this giant ape on the plaza of the World Trade Center with these
fake bricks that he kicked up.
But anyway, so I was there on that set, and my mom knew all these people,
(53:08):
so it is possible. I just don't remember.
So anyway, and what was the name of the actress in the original?
Original fey ray king kong it was fey ray fey ray the screamer yeah yeah yeah
it was fey ray okay so yeah anyway.
I don't know why I thought about that, but anyway, so looking at her work,
(53:30):
actually at some place in front of me, where is it? I don't actually have her
pictures in front of me. Do I? I do not.
But like I was, I started doing some searches for her and like I am,
I must be the last person on earth. I didn't know.
I didn't know. You know, and you know, what we were talking about before that
(53:50):
it's, she's not just picking up a camera and doing,
you know, stuff like this, this she knows what she's doing
she knows what she's taking pictures of she's she's going and
she's doing kind of a street photography style
she's going up to people and talking to them she might she's talking
about in some of her interviews that you know there are people who who recognize
(54:11):
her but but there are a lot of people who don't recognize her you know and she's
not someone who's always easily recognized as an as you know hollywood person
and but you know one One of the things that I was reading about is that as an actor,
and maybe all the people that were, many of the people we were talking about
when they have this sort of fame status,
(54:31):
but with like actors who can, can sense something because of what they do.
Like they are somewhat a little bit more tuned to how people react and how to maybe approach people.
It's just because being an actor or movie actor or even a stage actor,
(54:51):
you are able to read people. It's all about people.
And so I wonder if that gives her some ability to, you know,
I don't know, be able to capture something or be able to see something in the
subjects that she's photographing.
So I don't know. I think that has some, you know.
(55:11):
Legitimacy in what she's doing but her her pictures really are just they were you know,
pretty surprising right yeah i'm going through them i'm just looking at this
one picture of this interior of this restaurant new orleans i think i've been in that restaurant yes,
really well the picture of napoleon like i have a vivid memory in that archway
(55:34):
i think i know where that is because we were just here my wife and i were in
new orleans in 2016 and i think we were in that restaurant.
Is that the one with the waitress and waiter? Waiter coming by.
Oh, with the waiter. Yeah, because he's got a bow tie on. He's blurred.
He's moving through the middle of the image.
I just found the gallery. It was the Howard Greenberg Gallery that she had to
(55:58):
show from November 21st, 2019 to January 2020.
So I'll put the link in the show notes, but the one I'm seeing is a diner.
There's a picture of a diner with the waitress and you can see all the breakfast
menus and stuff like that.
But there is some, actually I wonder if I should send you the link so you can
(56:18):
see the same pictures I'm looking at.
I can see, yeah, she's kind of bent over the table and there's the menu. Yeah.
And it's funny because these are more, I would say more modern pictures,
but they certainly look like they were pulled out of time.
Like she's She's going down this road and grabbing, you know,
(56:40):
people and locations that are, you know, they look like they're stopped in time,
you know, but they're not. They're more, you know, they're more recent pictures.
There's this one shot of a gentleman in a room with like all these dolls,
(57:01):
like hundreds and hundreds of dolls against the wall and on shelves and stuff
like that. She goes for the grainy look too.
Right. So her, her works black and white. It's very grainy.
So anyway, it's, it's, it was a surprise to me, you know, this was the whole
idea of like, you know, I knew there were some celebrities who were photographers,
but for some reason, Jessica Lange was just, and I didn't realize how good her work was.
(57:25):
Like this work is very, very compelling. It's worth, it's worth buying a book
if she, if there is a book of this, of this work.
I'm definitely going to get one if I can find one. Just what I've seen.
Yeah. I'm looking at lens culture magazine here.
I guess it's a review of the, of the book with, uh, eight or 10 images from it.
(57:46):
So yeah, that's very, I also didn't know she was from Minnesota.
So it was like, you know, that part I didn't know. I didn't know she was from
Minnesota, but I didn't know about the photography part.
Yeah. So you can do a search for her on YouTube. There's a bunch of,
there's a bunch of interviews with her about, about her. Oh,
great. That's the best. Yeah.
Yeah. Yeah. I didn't, and I didn't know that she was, I don't know why I didn't
(58:07):
know she was partnered with Sam Shepard.
So what a combination those two must have been. Great playwright.
Yeah, yeah. Also, great looking couple too, I would say.
They're both beautiful looking people. So they must have made a head's turn
when they walked by. But it was really cool that he gave her a camera.
(58:28):
I think he got it from a movie too, from a movie set.
So I guess if you're Sam Shepard, you could walk off the movie set with a Leica.
I mean, Jessica could take her wardrobe with her, you know, I don't know, whatever. Yeah. Yeah.
So just, you know, to find that not only are these folks doing these things
(58:52):
in front of the camera, but they're doing behind it and how they get access because of who they are,
which they can use to the benefits of taking, you know, really cool pictures.
You know, if you're able to, to say, you know, I'm this person and I can get
in someplace and, you know,
That's cool too, you know, and, and by them sharing what they're seeing,
(59:15):
you know, I'm thinking of Jeff Bridges behind the scenes stuff,
or even like, we didn't talk about him, but Gary Oldman was also a photographer.
He's done some behind the scenes stuff as well.
And who else was I going to say? I think, uh, when you were talking about musicians,
I thought, I thought Ringo Starr also did photography of the Beatles earlier on.
(59:35):
I know there's a book from McCartney that just came out in the last year or so.
That he just happened to, I think it was in 64. It was just a very brief time
where he picked up the camera.
Now, I have not gone through that book, so I don't know whether it's any good
or not. I think there's certain interest in it for sure.
But I did not know about Ringo Starr. Ringo Starr took pictures.
(59:57):
I mean, Harrison did as well.
There's this great selfie of him in front of the Taj Mahal that I remember.
I mean, I guess it was something that a lot of people did. A lot of people carried
cameras with them. So, I mean, we all have cameras.
But let me think about Jessica Lange. So, yeah.
(01:00:18):
Well, anyway, I would spend some time with her work, you know.
Definitely worth seeing. And I think she's coming out with another book.
There's also, that's what I heard, there's also going to be a documentary about
her and her photography. Oh, fantastic.
That's being produced now. Now, I don't know what the name of it is,
but when I was researching her
for this, I did see that there was this documentary coming out with her.
(01:00:41):
Like I said, on YouTube, there's a few interviews with her about her photography.
I think it's one with 60 Minutes or CBS or something like that,
where she's walking and talking, photographing on the edge of Lake Superior,
I think. Oh, interesting. But anyway.
Yeah, yeah. Back home in Minnesota, maybe. yeah it's
(01:01:04):
great to see is it's just it's a pleasure to see
these these this work from these people
who i we i'm so used to seeing in other situations you
know and and in a sense it's almost like
we have this connection with them too as celebrities you know it's like well
we're sort of seeing the same thing or we appreciate the same thing and and
that means that we're all sort of brothers and sisters in light that's sort
(01:01:28):
of in a way you know yeah oh that's so yeah yeah it was Again, a surprise.
It's sort of like what we were doing last episode. It was like a new photographer
who pops up on our timeline.
This is someone who's not necessarily a new photographer, but I just wasn't
aware of what she did and then how good she is.
And all the photographers we're talking about, you know, Dennis Hopper and Bridges
(01:01:49):
and Graham Nash and all these guys are just taking really, really good work.
And so, yeah. Yeah. I think so.
I think that's about it. That's all I can say about her. So I didn't see any
of her. I didn't see any of her work at the, at the iPad show.
There's something wrong there. There is something to sell a few more books. Maybe.
(01:02:10):
You know what? I was curious. I wonder if the Greenberg gallery was there and
maybe I didn't, I didn't see them because there would be surprised.
There's a lot of main galleries at that, at that show.
So anyway. Yeah. All right. Cool. Cool. Yeah.
So, and I, I think that just wraps that part up, but I completely forgot to
(01:02:33):
mention at the top of the show.
So I'll mention it now. I want to say thank you to some of our listeners who bought us some coffees.
Totally spaced out, but now I remember. So I want to thank Justin Jones who
bought us three coffees.
He says, still my favorite photography podcast. Thank you, sir.
Thank you so much. You hear that? Our sister in light, Sid bought us a coffee.
(01:02:58):
And her comment was still the favorite photography podcast of Justin Jones.
And, uh, yeah, good one. So thanks Sid.
And John Wayne, not that John Wayne, the other John Wayne also bought us a coffee
in March and I forgot to mention him to say thanks.
So I want to make sure I say thanks to everybody.
(01:03:19):
We didn't forget, although I did, but I want to make sure we,
you know, you, all you guys as buying us coffee means I'm caffeinated for the rest of the year.
But no, thanks for supporting the show and buying us coffees.
Thank you very much. So that's the end of this.
(01:03:40):
Where are we looking for you in the world, my friend? You can find me on Vero
and X, formerly Twitter, at.
WRawsonPhoto. That doesn't feel natural. No, it doesn't.
On Instagram, you can find me at WardRosinFineArt, where right now,
if you hurry, you can see pictures of inflatable dinosaurs.
(01:04:04):
On Facebook, you can find me at WardRosinPhoto, and my website is rosin.ca, that's R-O-S-I-N.ca.
And our unofficial sponsor is my little website, where I sell 7Artisans and
Fotodiox adapters and 7Artisans lenses, And that is Ornis.photo, O-R-N-I-S.photo.
(01:04:28):
What about you, my friend? Where can we find you? Well, wait,
before we do that, are you going to get, are you going to get that 7Artisans Tilt Shift lens?
Um, I'm thinking about it. I've got to get a few more sales before I have enough
to make another order, uh, from.
Yeah, well, there's a 7Artisans Shift, Tilt Shift lens that's on available for X-mount and M43 and, uh.
(01:04:53):
I think Sony as well, maybe. I would. It's like $225.
Tilt and shift. Well, okay. Well, I've got some ideas for some others. It's a 50 millimeter.
Oh, that's. On the Fuji, it's an 85 for a 75. Yeah.
It's pretty long for a tilt shift. I wouldn't have thought it would.
Well, my Nikon tilt shift was an 85 millimeter.
(01:05:14):
Really? I always think of them as being wider for architectural.
Well, what do I know? Well, that's a perspective controlling lens. Anyway.
Oh, okay. We're getting into the weeds. PC lenses. Yeah. There's,
there's a bunch of, well, that's for another, that's for a later discussion. So.
Alrighty. Yeah. Oh, you were asking me. Yeah. Where, where, where can we find
(01:05:34):
you with all this distraction going on? You can find me sitting in front of my computer.
Uh, I'm going to just say Vero and Flickr at AM Rosario. I'm going to give up on X.
Instagram at AM Rosario photo. P-H-O-T-O. website
is amrazio.com our website streetshots.photography
(01:05:54):
and we've we've
had a lot of people subscribe to our substack newsletter
lately so that was great barry and
x gave us a shout out he signed up and uh yeah so sign up for our streetshots.substack.com
newsletter which i put out one recently and i'm getting inspired to do another
(01:06:16):
one so do that and you can leave us a voicemail at speakpipe.com slash street shots.
So it's great to, if you have a question, you want to have a discussion with us, just drop us a line.
And if you do want to support the team like, uh, Sid and who else?
(01:06:36):
Sid and John and John and Justin, uh, you can buy us a coffee at buy me a coffee.com slash Antonio Rosario.
Music.
Telling, teaching me about all these, these celebrity photographers.
(01:06:59):
Some of them I didn't know.
Yeah. I'm happy to do it. And it's kind of a cool, I mean, I do watch some of
these behind the scenes, you know, actors sitting in a round of table talking
about the creative process and stuff that sometimes it interests me.
Sometimes it doesn't depending on the egos, but I really like this whole idea
of, uh, Uh, many of them that we know and like from the screen are also very.
(01:07:24):
Music.
Good at, uh, at photography and that's, uh, yeah, that's the best I think.
All right, my friend and everybody, thanks for, uh, hanging out with us tonight.
Thanks for hanging out with me tonight, Ward.
Appreciate it. Always a pleasure.
Always a pleasure. And, uh, for everybody else, we'll see you in a couple of
(01:07:46):
weeks and, uh, enjoy your spring springtime for those of us having spring.
Those of you on the other side of the world, enjoy your fall, autumn time.
Music.
And we'll see you in a couple of weeks. All right. Good night. Good night.
How many altogether? Can you get into it? The count, they are,
(01:08:10):
this is the first time they're counting it by drone.
So everyone that came in that was in the inflatable outfit got a wristband.
And so there's the potential of how many people there.
Then they're flying over with a drone and they're using AI to count the number
of people who fit the profile.
So they're saying it's over 2,000.
And the world record before was 186. Yeah, so we just obliterated it. Just obliterated it.
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