






I’m not usually speechless or at a loss at how to respond to something. But I am through the looking glass right now. I’ve known about this for three days but I haven’t even been able to post the news here on 50lux.com because I’m so blown away.
The LACP, which selected one of my images, Gestalt Moment, for their first member’s exhibition earlier this year, asked for submissions for an upcoming street shooting exhibition early in 2015 which will be both in their gallery and also online.
I submitted 10 images. The response from street shooters in the LA area was great. 129 photographers submitted almost 800 images. The judges were serious. National Geographic’s much esteemed Sam Abell. Stephen McLaren, whose book, Street Photography Now has been on my bookshelf for years.
As far as I can tell, I’m one of only three photographers to have four images selected!
I don’t know what else to say. I would have been GREATLY honored to have one image selected and featured either in the online gallery and over the moon to have one once again on the wall of the LACP exhibition. But I will have TWO on the wall and an additional two different images in LACP’s online gallery for a total of four online.
I just want to thank Julia Dean, and the judges, and EVERYONE associated with the LACP for being what they are and creating their presence in Los Angeles photography and giving photographers here the platform and recognition as they have so deftly and gracefully done. Thank you, thank you, thank you!
Since these four images will be featured on LACP’s own online gallery, and they have bestowed upon me this great honor, I don’t want to steal their thunder or take away even one web click from them by posting the images here.
I also won’t even post any of the six shots that weren’t selected as that too seems a bit of a weird thing to do at this time. I will at some point but certainly not now.
The shots have all been featured here in the last year. Three of the images were taken with Nikon cameras and one with the Leica M. I think. Don’t hold me to that. I’m so blown away I barely know my own name right now.
Thank you also to everyone who visits this site and has encouraged me and my photography. You have bolstered the notion in my head that I have something to say photographically and that has kept me going these past years and I thank you all so much for that.
And I want to also thank Leica for the inspiration. Always. Even before I shot Leica. Switching to Leica gear was a complete rebirth for my photography. I could not have gone on another year shooting big autofocus DSLRs. I certainly wouldn’t have been inspired to start this blog without Leica and without this blog… anyway.
I’m thanking everyone today!
Donald Barnat

I took this picture in Beverly Hills, CA two weekends ago, while protests were breaking out around the United States over the issue of the disproportionate use of excessive force by police departments against African Americans. I don’t know what the quite apparently homeless woman had done but she was in obvious distress at this moment and loudly vocalizing her displeasure with the actions being taken against her.
I have nothing else to say, really, about this conveniently relevant photo that fell into my lap because I happened to be in the right place at the right time. Well, other than the fact that my heart goes out to the woman, and also to the cop.
Back before there was such a thing as a blog, when Macromedia Dreamweaver was the coolest thing on the planet, I used it to make and publish a handful of websites. One of them was an anonymous rant against the police. I made it to publicize and characterize for the world-wide-web the never ending cycle of unjustified police shootings here in Southern California.
I had on it the story of the black girl sleeping in her car in the rain at night who police shot while she was unconscious and possibly even overcome by carbon monoxide by her car’s running engine. There was the story of the unstable 130 lb 16-year-old whose family called 911 because they were worried about his erratic behavior and who, when surrounded by police, was whirling in a circle keeping the cops at bay with a broom stick. He was shot 9 times. There was the infamous story of the homeless 90 lb woman in her 60s who was shot for pulling out a screwdriver when stopped by police for having a shopping cart back when the police were instructed to arrest homeless people for shopping cart theft.
Let me repeat. I made a website about a dozen years ago (or more) to publicize questionable killings of black and hispanic people in California. That’s ALL the website was about. The police shooting and killing blacks and hispanics.
Details are very very important. Details are why a progressive leftist person who started a website decrying police violence, along with millions of others, find themselves unable to get behind a protest movement based on an incident that doesn’t have the right set of circumstances and facts to build the kind of systemic change that is needed upon.
That is Ferguson, in my eyes.
The Staten Island tragedy, however, and the I Can’t Breath movement and protests that have been growing out of it, represent, in my opinion, a truly valid protest movement that was born by a clearly indefensible example of unreasonable force by the police resulting in the death of a citizen.
I am deeply disturbed by the death at the hands of the police of Eric Garner in New York.
More power to this movement and to these protests.
I’m putting what I’m about to say out there because I don’t see it on protest signs, I don’t hear it coming from the talking heads on television and I certainly don’t envision the police opening up on this point. So here it is.
Policies and Procedures
Police policies and procedures are largely written by the police with a big assist from police unions. They are the instructions the police write for themselves as to how they are to go about every aspect of their jobs.
In all the years that these shooting have been happening in Southern California, through multiple federal investigations and consent decrees imposed on multiple law enforcement agencies… the one thing that has remained almost untouchable by civilian oversight or the government is police policies and procedures. They’ve changed very little. The police continue to get away with discharging their service weapons into human beings who did not need to be shot to death.
If you want to fight the police the way to do it is find a way to impose civilian oversight over the re-writing of THEIR OWN POLICIES AND PROCEDURES.
Policies and procedures. It’s all right there in those two words. The police write their own. As long as the police make the rules for their encounters with the public, of how and when to use force, they are are going to continue to escalate situations, in the tragic case of Eric Garner, INTRODUCE violence, in that case, DEADLY violence, over minor non-violent and even, I believe, non-criminal violations.
Who gets this? Southern Californian activists. This region of the country is Ground Zero for questionable police shootings of unarmed, mostly (but not always) minority, citizens.
So it would be fitting that right now, as I write this, at this very hour, the LA County Board of Supervisors, with protestors raging outside, is taking up the issue of a civilian oversight board for the LA County Sheriff’s Department.
This was voted down last year but with two new members on the board supporting it there is hope that it may pass this time. It’s important that there is civilian oversight and that it not be simply the brand that rubber stamps whatever the police departments decide.
“We are encouraged that this new board is moving forward and has the political will to shift the course where the previous board fell short.” – Jaz Wade “Dignity & Power Now”
I’m not so encouraged, honestly, or nearly as optimistic as Ms. Wade but I am hopeful. If you’re in LA please keep an eye on the news as this story is being covered by all the local television channels.





The world I grew up in. Second from the left is my mom, who was a two-time president of the local Ladies Auxiliary of the VFW. Third from the left is my father, who was a two-time commander of the same local VFW post in our town. These are all the founding officers of the post in Aliquippa, PA. This image was published in the Beaver County Times. My godfather Walt is to the far left. I believe this shot was taken in 1959. Anyway. We do a lot of things wrong in this country. I think we have to, and especially in this era of apparently never-ending wars, begin doing veterans right. And the horror stories that evidence the failures have to stop and be replaced by a system that represents the best that human beings on this planet can do for each other. If we can’t fix that we’re never going to fix anything and the whole country is a sham.






Thank you, once again, to Tollie and the master witchy hostess, Marjorie, for another incredible Halloween party! We promise to dress up next year! Promise! 





The photographer who calls himself Joey L., 24, grew up loving Halloween he dropped his last name to avoid association with a “cheesy ’80s actor” who shares it. As a child in rural Ontario, Canada, he made his own costumes. The goal, he said, was to be as scary as possible. “My dad was an antique restoration guy, so we made all these freaky prostheses and wounds,” he said. “Demons and weird stuff.”
via Seeing Halloween, as if for the First Time – NYTimes.com.

The New York Review of Books –
Garry Winogrand was one of the last great street photojournalists. He was like a walking camera: by the time he died he had taken nearly a million photographs. In the sheer volume of pictures he took, he really pushed photography to the limit. Videos and movies have taken over today, and he’s very close to that world where you shoot nonstop—he used his camera like a Kalashnikov.
via Garry Winogrand’s Lonely America | The Gallery | The New York Review of Books.


From LightBox –
For new generations of photographers and artists who have missed out on experiencing many of the world’s important books first hand, it cannot be stressed enough how important this new edition of The Decisive Moment is for a contemporary audience.
“Robert Frank’s The Americans and Cartier-Bresson’s The Decisive Moment were published within a few years of each other in the 1950s and both books have since become the blueprint for the modern photography book,” Steidl says.
Its value as an out-of-print collectable has risen over the past few decades resulting in keeping this masterpiece out of the hands of many younger photographers. Finally, after 62 years, it is again seeing the light of day this December with a gorgeous facsimile from the German publishing house Steidl.


Via Phaidon:
As befits someone who’d photographed everyone from Churchill to Che Guevara, René Burri had a weapons grade arsenal pf wonderful stories and anecdotes, and he told them extremely well. One of our favourites was one he revealed in the garden of his Paris apartment a couple of years ago when we were interviewing him for his memories around the book Impossible Reminiscences. It concerned his mentor, Henri-Cartier Bresson and his habit of looking at negatives upside down. It infuriated all the Magnum photographers but particularly irked the Swiss-born Burri who revealed how, with one of his most famous photographs he managed pulled the wool over the Magnum founder’s expert eye and, as he put it that afternoon, “killed my mentor!”






Hello, everyone. I’ve been posting an image or more on my blog here almost every day for the last couple of years. I have to say… it may not have always looked like it but it really was a lot of effort. And it has now become very hard because while I’m still shooting street photography and uploading images I don’t feel about them the same way I felt about much of the stuff I’ve posted over the last two years.
Giving myself a little credit, maybe it’s not just about feelings but about the kinds of critical judgments that everyone who shoots and chooses their better shots makes every day. When I look back at much of the work I’ve posted in the last few years I feel it’s been pretty good. I’m proud of it even now. So I’m going to just trust myself and wake up to the reality that I’m not producing what I want to at this time and I’m not going to force the issue by posting images I’m not completely behind.
I also want to free my mind up to pursue some other things that photography has pushed to the back burner and I’m anxious and excited to get to work on these other projects. And there are photo projects as well. Anyway, I know I’ve bent ears here before declaring that I was going to do this or do that. But I really am going to take a break from 50lux.com for a good solid amount of time.
Of course, if I get anything really wonderful it will certainly find its way here. And I have it in mind to collect on a special page or even maybe the front page here my favorite shots of the last few years.
I again want to thank every one of you who follow this blog, artists all of you, no doubt, for welcoming my photography into the WordPress world. Hope to be back one of these days with new photography that represents a change in direction for me as an image maker.
Thank you again and I look forward to having more time to visit all of your blogs and take in all of your great works here on WordPress.
Best of luck,
Donald
P.S. About these four images…
I went to the Getty Center yesterday morning to see the Minor White exhibition. I’d only seen a small bit of his work prior to finding the article I posted a few days ago announcing the show at the Getty. I actually have a book about his establishing the photography department at Cal Arts. But when I saw that his work was being featured at the Getty I Googled him and took a good look at what came up. I was stunned. I felt a connection to what I was seeing that I can’t really describe.
So we jumped over to the Getty at the first opportunity. I had a feeling the images would effect me and they did. Very much so. The Sound of One Hand sequence made me feel just odd in my stomach it was so representative of some kind of a note or tone that I felt deep in my creative self. Almost jealousy. lol. So I kind of had my world rocked there for a minute.
Then we went upstairs. O mio Dio! Directly upstairs from Minor White was a room full of some of the greatest artistic treasures on the face of the Earth. Degas. Manet. Monet. Cezanne. The one time most expensive painting ever sold at $52M. Van Gogh’s “Irisis”. I can’t describe the effect this all had on me today.
So we went outside and started roaming the exterior areas of the Getty Center. There’s a small brook running through the place over rocks and small waterfalls. I had Minor White’s images in my head and just started shooting, thinking about how I would turn these images into black & whites, like his. But I couldn’t do that. I like them the way they are. I hope you all do, too.
I’ll see you all back here periodically with more photography.
Till then much love and best wishes to everyone…
db

Her photograph Migrant Mother is one of the most recognized and arresting images in the world, a portrait that came to represent America’s Great Depression. Yet few know the story, struggles and profound body of work of the woman who created the portrait: Dorothea Lange.
via Video: Dorothea Lange: Grab a Hunk of Lightning | Watch American Masters Online | PBS Video.

Nancy Newberry wanted to make pictures of Texas that went past the facile folklore of the homestead, past the stereotypes of tumbleweeds and ten-gallon hats. Put in decidedly nonfolksy terms, she was fascinated by disjunctive cognition, that phenomenon in a dream where you simultaneously recognize something is and isn’t. In other words, something familiar — but just shy of normal.“It’s about a psychological space that connects you to a place,” said Ms. Newberry, who was born in San Antonio and now splits her time between Dallas and Marfa. “And in my case, this is where I come from, from Texas.”

Donald Barnat – 50lux.com
Date: Daily through October 19, 2014,
Location: West Pavilion, Lower Level, Getty Center
Admission: Free
“By the end of his career — he died at 68 in 1976 — Whites pictures were abstract, black-and-white closeups of rocks, wood and water. The gleaming images were spiritual and intense. He arranged them in sequences, leading viewers from one picture to another, slowing us down and forcing us to see connections and relationships between the shapes.In a 1957 photograph, a discarded water tank, weathered by the elements, looks like an encrusted snail shell. “Look at how the light is caressing the rim at the top of this circular object. Its just gorgeous,” Martineau says.These days, everyone is a photographer …” … but is everyone a good photographer?” Opie asks with a laugh. “Does everyone spend their life thinking about it? … Every bit of their love and energy and relationship to the medium? Thats the question.”Thats what Minor White did, Martineau says.”He worked very hard his entire life,” he says. “He was practically living at poverty levels until the very end of his life. He was completely committed in mind, body and soul to living a life in photography.”
via Minor White, Who Lived A Life In Photographs, Saw Images As Mirrors : NPR.





Summer, not a bit of breeze
Neon signs are shining through the tired trees
Lovers walking to and fro
Everyone has someone and a place to go
Listen, hear the cars go past
They don’t even see me, flying by so fast
Moving, going who knows where
Only thing I know is I’m not going there
– Charles Strouse; Lee Adams.











We’ve been happy for a change this August. The weather. Now it’s finally blown up in our faces and Los Angeles is doing its convincing yearly imitation of the surface of Venus. I found this shot from about five years ago. It’s of the Cajon Pass at the base of the Sierra Nevadas. December. Snow on the mountain tops and in streaks down the sides.
This was shot through the window on our way to Vegas for Christmas.
I like to roll the window down just a crack and hear the wind whistling in while we speed on our way. The sound and the cold keeps me awake and reminds me of when I was a kid and you couldn’t escape that noise coming from the ill-fitting side vent windows. Remember those? Hope not.
When you stop to fill your tank and grab a Coke out on the high desert, the cold wind pushes you around like the insignificant thing you are. And I fucking love it.