Author: donald barnat
Couch Potato

Beverly Hills in Black and White

Pulling more images from the old Nikon days. These are in the range of five to ten years old. Hope they’ve aged as well as some of the subjects.

Blur from the Past

I have to admit I’m burning out on the street photography I’ve been doing for the last few years. So there’s probably going to be a lot of blasts from the pasts here on 50lux.com for quite some time. Anything and everything.
Here, with a color goosing and frame filter from Exposure 5 is an absolutely ancient digital image that I actually have framed on my living room wall. I don’t know why but there was a time when shooting blur pictures at night had a magic feel to it.
Taken so long ago with a Nikon Coolpix 950. 😉
Silly Rabbit

Memories of Rio
As I’m typing this, Russia and Belgium are scoreless in the 82nd minute in the stadium in Rio. Yes, I wish I was there. The afternoon we went to Corcovado was incredible. Finding my scattered images from those days is, however, an incredible pain. Anyway… GOOD LUCK… to Team USA later today as we take on Portugal! Happy Sunday to everyone.
Not Daguerreotypes

Everywhere a Sign

Horace Silver
Long live Horace Silver. My favorite.
I’m no great shakes as a musician. But when you’ve internalized someone’s music their loss is felt that much more. That I can tell you today.
Maybe 15 years ago I recorded a bunch of jazz standard lead sheets for a friend back home. Just a one afternoon with nothing better to do project for a friend. Here is the Horace Silver portion of that inadequate effort.
A New Leica M-E is Coming! Happy Dance (and a bit of a confession from me…)
Some of the images in this post were made with a Leica M7 and Fujifilm 400 and some were made with a Leica M-E. This isn’t a test or a game. They’re just so wonderfully close and that result is so typical of the M-E that I thought I’d sweeten this news with a graphic demonstration of why I’m so happy with the Leica M-E and the news that follows.
Incredibly excited beyond any words today to hear this. Please click on the link at the bottom to the great Leica News & Rumors blog for more info.
But I have to say, one reason I’m so happy to hear this is that I can now really open up about how happy I am with the Leica M-E. And the selfish reason I didn’t do that to the extent that I wanted to is because my understanding is that Leica was discontinuing production of the M-E and that the CCD based Leica would be no more. Thus stock would dwindle and I might not ever get my hands on a new replacement let alone the half dozen I dream of having in rotation when I get back in the game of making money with a camera. I love this camera. I’m incredibly excited to hear that it will live on. As should be every single photographer on this planet.
Because this is a camera. Plain and simple. (Reminds me of the line from Julius Caesar spoken by Marc Antony over the slain leader’s dead body. Something like, “Here lies a Caesar. When comes such another?”) That’s how good of a picture taking image making machine is this Leica CCD camera and now we know when comes such another. Simple. Incredible. Film-like results. Film like ISO performance which, given the glass you can place on the thing, is and always has been plenty adequate. Anyway, as we used to say back in the 80s here in LA, I’m fucking stoked!
If this rumor is correct, this would be a clever move from Leica since many people prefer the specific look of the photos taken with the 18MP CCD sensor.
via Leica rumored to announce a M-E camera replacement | Leica News & Rumors.
Portrait of a Street Photographer
19 Pages of Famous Leica Photographers and their Cameras – NewOldTime

Incredible! Mary Ellen Mark did not just show up at the Leica Gallery in LA lovely but apparently was a lovely person prior to last summer. Who knew? And she actually DID shoot Leica cameras. What a shocker that is. (kidding. well… )
HENRI CARTIER-BRESSON: “Arrogant Purpose” 1947 | AMERICAN SUBURB X
Absolutely one of my favorite places online, American Suburb X. Please click on the link to a great bit of writing from all the way back in 1947 that accompanied an exhibition of Henri Cartier-Bresson’s work at the Whitney.
Excerpt from Review of the Whitney Annual and Exhibitions of Picasso and Henri Cartier-Bresson, The Nation, 5 April 1947
The unusual photographs of the French artist, Henri Cartier-Bresson, also at the Museum of Modern Art, provide an object lesson too – in how photography can assimilate the discoveries of modern painting to itself without sacrificing its own essential virtures. One thing that painting since Manet has emphasized is that a picture has to have a “back”. It cannot simply fade off in depth into nothingness; every square millimeter of picture space, even empty sky, must play a positive role. This, Cartier-Bresson, like his fellow-photographer Walker Evans, has learned preeminently.
via HENRI CARTIER-BRESSON: “Arrogant Purpose” 1947 | AMERICAN SUBURB X.
Mary Ellen Mark at the Leica Gallery in Los Angeles

Reposting this from last summer when Mary Ellen Mark, icon of 20th century documentary photography, presented and discussed images from her incredible career upstairs at the gallery atop the (then) new Leica store in Los Angeles.
The store was and is beautiful. The event was flawlessly executed. Mary Ellen Mark running a slide show (not really, it was a Mac-powered presentation) of her work and talking about it was a moving and humbling experience.
But nothing, of course, matched the thrill of photographing her. During her talk she mentioned that the biggest mistake photographers make is, after they’ve taken a few dozen shots of a subject or situation, thinking they have the shot. She said she works a photographic opportunity to death and that was probably the best advice she could give to photographers.
This is not advice I have ever needed to hear.
After the presentation the great Mary Ellen Mark hung around to meet and chat with members of the audience and sign a few of her books. There were, of course, a number of people snapping pictures of her. I know these kinds of events, the light, the many challenges, etc. It’s why I’ve chosen the Leica M gear that I use with incredibly capable and expensive lenses like the 50mm Summilux 1.4.
I was surprised to see that no other photographer at the Leica gallery was shooting an M – anything. Very surprised. There were X2 and X Varios but not an M that I could see. And consequently, no M glass. Well, at that point a light bulb went off in my head. A talking light bulb. It said, you’re the only photographer here with a camera and lens capable of pulling this off. It’s Mary Ellen Mark. Get to it!
So I started moving around the room, moving in close and low when I could, struggling to hold the camera still on my end and hoping Mary Ellen et. al. didn’t move too much themselves so that I could come away with some sharp images. At first, Mary Ellen paid me no mind. Most everyone there wanted to meet her and set about doing just that. She was very busy and very gracious.
I didn’t really want to meet her in a situation such as this. I don’t really count that as actually meeting someone. What would I say beyond expressing my respect and admiration which does very little but force her, in this context, to respond for the fiftieth time in ten minutes. But as I continued to move around stalking my shots I couldn’t help but notice that, after more than one quick glance my way, she actually became a more animated subject.
You sometimes sense that people don’t want their picture taken. But Mary Ellen Mark, as a photographer who has inserted herself into so many desperate and even dangerous situations, shot so many difficult and dramatic human subjects, was familiar with and navigating that tension and resistance and the people projecting it to her long before I ever even picked up a camera with any serious intent.
Mary Ellen did not, thank you very much, project anything like that resistance or tension to me.
So I kept shooting. Adjusting my settings. Trying to think of everything. People were, of course, moving, jostling for position. It’s a crap shoot but you just keep going and going knowing that most of the shots you’re getting are throw aways. In retrospect, I wish I had done a lot of things different. I think I’d had too much caffeine.
This goes on, well, sort of off and on, for about 20 minutes. I’m really the only person there behaving like a photographer, diligently snapping away at this scene. I don’t know how or why that was the case, but it was. Lucky me.
At one point not long before I bailed, the fact that I wasn’t going to approach and meet her no doubt became apparent to her, as was it clearly mutually understood that I was photographing her and she was allowing me to photographer her. Either I had taken her advice to heart or came to the event already in possession of it. And it was at that point that Mary Ellen Mark gave me a look, a very sly smile, with squinted twinkling eyes.
I have that picture but it’s not the most flattering shot. So these will have to do.

30 women photographers under 30
”Look at any advertisement for a new camera, you will usually see the kit held by a male hand, with the image of a young woman visible through the lens…as though the camera were always meant to be a male eye, gazing out onto a world of female subjects. It may sound primitive to talk of the female photographer in such a way, but as the photographers of 30 UNDER 30 will undoubtedly profess, resistance – or discrimination, even subtle – can be common even today. We will each have our own stories of how being a woman has hindered, or even unfairly aided, our pursuit of this profession.”
Compiled by Chiara Palazzo
Colors of Hollywood Boulevard

D-day, The Invasion of France – 31 Photos at the Los Angeles Times
On June, 6, 1944, Allied forces landed on a swath of beaches in Nazi-occupied France in World War IIs most ambitious operation. The invasion and ensuing battle for Normandy helped change the course of the war. This year marks the 70th anniversary.
Pico Life

Umbrella 2

Trickle Down Economics

My Image Entitled “Gestalt Moment”…

Very excited to learn that the above image, Gestalt Moment, won a spot in the Los Angeles Center for Photography’s first Juried Member’s Exhibition that will run from July 11 – August 12. Over 800 images were submitted and 50 were selected.
I set out to do a number of things in terms of street photography when I embark into the city to make my images. I don’t go out with a single project in mind but after so many years of shooting in Los Angeles I know there are a number of things on the spectrum of possibilities that I can hope to find and document.
This image actually represents a number of those things. First and foremost I think what my photography is about is that it’s psychological. That’s certainly a matter of perception and right or wrong, true or false, I attempt to make images of that which I perceive to be happening in the lives or minds of my subjects. There are certain psychological states which I look for that would be reflected in things like facial expressions or body language and gestures.
This is, of course, extremely subjective. Can I tell what people are thinking by the look on their face? No? Maybe? Sometimes? Does a photograph lie? Of course photographs can be misleading and can seem to show something entirely different from the reality of any situation.
Personally, I’ve never cared too much about the answers to those kinds of questions in relation to my street photography. It is not reportage or photojournalism. I think some of the images selected by Robert Frank for The Americans are possibly very misleading moments. But they advance his narrative and that’s what matters more than the notion that he took a specific image when the moment and time and place were all so oppressively pregnant with the exact point he was attempting to make with his book about America.
Detachment is a theme and a human condition I attempt to capture when I’m shooting street photography. Social detachment. Emotional detachment. Temporary detachment. Literal, metaphorical. I’m open to whatever I can find. Detachment was the unifying theme of the six images I sent in to be considered for the exhibition at the LACP.
Alone, elderly, downward aspect to her gaze, body language that’s slouching away from the world, literally disappearing into a darkened doorway, there’s enough evidence of social and emotional detachment here that I would hope I don’t have to discuss that element in this post or it would end up being 10k words.
Another thing I hope to do, and rarely accomplish, is to tell my little real or imagined social and psychological stories without actually showing someone’s face or revealing their identity. Two of the images I sent in accomplished that and this was one of those.
That’s for both artistic and just very practical reasons but to some extent there are ethical considerations as well. It’s not an easy thing to do by any means. But I can almost feel the exhibition juror looking over street photographs by me or any number of other photographers and (with a sigh of relief) being inclined to choose images that don’t reveal the identity of any human beings. It’s like an ‘ah’ moment. Yes! Thank you! These aren’t legal concerns, maybe, but any number of lesser worries are avoided. So there’s that.
Then there are, it is hoped, things that you cannot plan for or take any credit for whatsoever. The gestalt aspects of this photograph represent nothing less than a once-in-a-lifetime occurrence.
To be the photographer who goes into the world seeking out something like this, spending his or her hours searching for opportunities that would, when photographed, represent examples of gestalt? God, I think I’d rather sell my cameras and start a disco band. That’s just not who I am as a photographer.
To those who might not know of gestalt theory or perception. As simply as I can state it, it is a combination of elements, dots, shadows, lines, that taken by the MIND in total, form or represent something other than those elements, dots, shadows, lines, etc.
In this image, you only see this woman’s hat and hair really. A purse strap. It is really the red, yellow, and blue polka-dots on her jacket, and the blocking of light by her legs which tells you her shape, her posture, etc. Those elements allow your mind to ‘see’ the human form of the woman.
That those elements, captured at this moment, reveal her body language, a gestalt perception that to me forms in the mind an expression of her detachment, one of the many things I seek to photograph with my cameras and lenses, is simply off the charts good fortune.
As part of the process of participating in this exhibition and having an image featured I’ve been asked to set a price for this photograph. I think it’s worth $1M. But I don’t want to sell myself short so I’m thinking of asking five. 😉
Thanks for looking!
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Conversation

Forward Emotion

Angelinos en película

A Drizzle of Dang

Memorial Day
This is a repost of the very first real blog entry (after Hello World!) on this website back in 2012. I was in a very bad place at that time. My best friend was dying. I was not good with that. I was in one of those places where a person has no patience for the simpering superficial bullshit people tell each other mostly to make themselves feel better about themselves.
And although I feel strongly (always) about the message of this post, I didn’t repost it last Memorial Day. I was probably in a better mood. This year, with Memorial Day coming so closely on the heels of yet another gut wrenching domestic gun tragedy, happening this time here in my own back yard, and given everything else I see on the streets and read in the newspaper, I’m once again in a dark and unforgiving mood about my country. So fuck it.
Robert Frank’s ‘The Americans’ exposed much of the truth about America. We might have looked at that work and been properly shamed and sought to make a course correction. But we didn’t do that. Anyway. Enjoy this holiday. Don’t thank our troops. Remember instead the dead ones, and their wives, and their children, and their mothers, and their fathers. And forgive me for encroaching into sanctimonious behavior with a self-righteous attitude. I have no room to talk. It’s taken me over half a century to finally wake up.
Memorial Day 2012
Cookouts! Barbecue. Hot dogs and hamburgers. Beer. Friends and family. Unofficial start of summer. Hell yeah! That’s what Memorial Day is all about. Oh and, of course, the Memorial Day sale at Macy’s. Right?
Then there’s those people who try to remind you of the more sober aspects of the holiday. Sanctimoniously thanking ‘our’ soldiers. Does that really stick with you or are they just as annoying as the people at Christmas telling us all to remember the spirit of Christmas and that Christ ‘our’ savior was born on Christmas Day?
So they had this event down at a new memorial in Irvine for service men and women who died in Iraq and Afghanistan. I saw it on the 11 o’clock news. The Northwood Gratitude and Honor Memorial looks really nice and is said to be the first of its kind in the country honoring those who have fallen in the wars on terrorism we’ve been fighting for the last eleven or so years.
But they’ve got this open mic thing going. And the wives and mothers of those who were killed in Iraq and Afghanistan come up to the mic and, if you didn’t see it, I’m telling you these women are just fucking raw. All are emotional but more than a few can barely get their words out; they’re just dying up there.
Blubbering women. Most of them young enough to be my daughter, if I’d had one. Talking about what they feel on Memorial Day.
While these women are stepping up to the mic, one at a time, to tell you the names of their husbands and sons and what happened to them – as best as they can between the sniveling and gasping and choked-off words – all over this country, millions of Americans are getting drunk, washing down burgers with Bud Lite, laughing the day away talking easily about everything that careless partying Americans talk about on a summer holiday together. Most Americans are having a good time, a welcome day off from work, celebrating the start of summer and vacation time – which is and always has been the real point of Memorial Day in our culture.
A really young woman steps up to the mic in Irvine. Her two hands are in a wrestling match with each other as she speaks.
“My name is Brooke Singer and my husband was killed in January.”
Brooke looks to be about 22. She’s wearing a pretty black dress with nickle-sized white polka dots and spaghetti straps that cut into the soft skin of her shoulders. She seems to have more to say but after that one solitary sentence she puts the back of her right hand to her face and unsuccessfully tries to stifle a sob. That hand has a mind of its own and, almost to conceal the degree to which it is shaking, Brooke drops it momentarily but then quickly raises it back again to cover her mouth, which is contorted in a way she’d obviously rather the entire world doesn’t see.
A girl who looks like she could be Brooke’s younger sister stands helplessly to her left. A woman who must be her mother puts her arm on Brooke’s back and whispers something into her ear.
If you need to be told at this point that Memorial Day isn’t about cookouts and really good shopping then I don’t know what to say to you except that you’re not alone. Not in my America.
But if you still think it’s about thanking ‘our’ soldiers and telling them how much we love them and appreciate what they’re doing for us then you really need to either wake up or grow up or maybe just look up the word ‘memorial’ in a dictionary.
If this country can ever find its soul again it will be on some hopefully not-too-distant Memorial Day. One day when enough Americans are finally able to look squarely and, maybe more than anything else, responsibly, at young women who can barely breathe as they muster the courage to stand in front of a microphone in a public square and choke out the names of their dead husbands.
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Film images made with a Leica M7 and 50mm 2.0 Leica Summicron lens.
Bunny Yeager, photographer of Bettie Page pinups, dies at 85 – Los Angeles Times
Yeager came to be admired for her use of natural light, sometimes enhanced by flash even in daylight, to make a model’s skin look luminous. But unlike nude photographers whose depictions of women were hyper-sexual and pumped up, Yeager found sensuality in a more natural look.
“Bunny has that good understanding of how to photograph the female body. At the same time, she knew how to captivate men’s sexual fantasies,” Miami gallery owner Harold Golen told the New York Times in 2011 when the gallery hosted an exhibition of Yeager’s work. “Her women are real. None of them are spray-tanned. Their breasts aren’t ballooned. They have curves and a bit of cellulite.”
via Bunny Yeager, photographer of Bettie Page pinups, dies at 85 – Los Angeles Times.
Holiday Weekend

LA Live

Babushka Ladies

Throwback Thursday Lens Review: Voigtlander 40mm Nokton 1.4 Classic
What I loved about this lens is the straight lines, the ease and accuracy of the 35mm frame lines in real world framing with this lens on the Leica M9, much better and more accurate at 40mm than the actual Leica 35mm lenses. Of course the flange had to be filed down to bring up those frame lines.
Sharpness is just off the charts at f2.0. Way more than anyone needs there. Color is not Leica, by any means. Micro contrast either. But for the money this is a fantastic, fast, sharp, lens for Leica rangefinder cameras. Hope you enjoy the many pictures. Larger res versions are available when I think they’re relevant so hover over many of them for a bigger version.
Thank you,
Donald Barnat









Bus Stops of Hollywood Boulevard

Just Want to Smoke Weed

Souls Not For Sale

Sea of Blue

Green Benches, Western Avenue, Los Angeles, Winter 2014

Wilshire Blvd, Santa Monica, October, 2013

Fingers on the Buttons

Jessica Alba’s Back

I attended a luncheon on Friday that had originally been scheduled at the iconic Beverly Hills Hotel. Well, as the principle owner of the Pink Palace is the Sultan of Brunei, and Brunei has just passed laws permitting the stoning of women for… well… we can stop right there. What else do you think anyone here in LA needed to know? Event cancellations become the norm for the Beverly Hills Hotel and this particular event, The Helping Hands 2014 Mother of the Year awards, was moved to the Beverly Hilton.
Anyway, Jessica Alba was awarded 2014 Mother of the Year. We all sat down and ate our lunch and I, of course, had no idea that the movie star was sitting about ten feet directly behind me. I was there as a guest and I couldn’t stalk the situation for shots or even make myself obvious to anyone. My Leica M-E is discreet, that’s for sure. But I wasn’t able to get up from my seat and take images.
Nevertheless, I was able to grab a handful but certainly nothing to write home about. I sure hope the shots at least get you in the room for a moment. 😉
Thank you!
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Tupac’s Dead, Don’t Look So Surprised

Earth Tones

Bus Schedule

Not Fargo

Faces of Beverly Hills

Reflection

All in the Family

Monique & Joe Know…

What Sandwich Are You?

California Girls

This is the Face of An American Hero





















