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donald barnat / 50lux.com
There’s an anecdote buried deep inside the footnotes of the catalog for the Metropolitan Museum of Art’s Garry Winogrand survey that speaks volumes about the present exhibition. In it, his better known contemporary, Lee Friedlander, watches Winogrand release the shutter of his camera with nearly every passerby encountered on a New York street. Thirty years after Winogrand’s quick dispatch from cancer in 1984, Friedlander’s shocked response to his friend’s incontinence appears more informative than lapidary: “Garry, you’re not photographing, you’re taking the census.”
via Garry Winogrand at the Metropolitan Museum of Art: The Genius of His Reviled Late Works.

donald barnat / 50lux.com
Yes, feeling tapped out and bereft of actual subject material I’m just going to now start taking pictures of the fricking asphalt. Please enjoy responsibly.

Some women and their personal styles are timeless. Simple and sharp like the young lady above. Some are more complicated. 😉 These are all from the Nikon days.






Vanessa Winship had gotten very good at getting the picture without getting noticed. But unlike street and documentary photographers who strive to be invisible, Ms. Winship was not happy.
“One of the problems with this is that it allows a certain kind of passivity from the position of the viewer, and of course the viewer includes me,” Ms. Winship said. “In this context it functions in a way that allows us not to take responsibility.”
So, during a project in Turkey, she gave up the easy invisibility granted by using a 35-millimeter camera to take up a view camera, slowing down her process as she engaged in a dialogue with her subjects.

















donald barnat – 50lux.com
Seems that maybe there is, in this eye-opening piece on NYTimes.com, a blurring of the lines between what is thought of as mental illness and what might be considered emotional or other behavioral problems and issues. But nevertheless I’m glad they cast a wide enough net to include many of us and I’m thinking this might be a very interesting ongoing subject to discuss here or amongst any group of creative people.
(I didn’t feel comfortable using an image belonging to one of the photographers profiled in this article without permission so I used one of mine. It is in no way a commentary on nor are the subjects pictured in any way associated with this article.)
To the casual observer, Danielle Hark was living an enviable life, with a devoted husband, a new baby and work she enjoyed as a freelance photo editor. But she was so immobilized by depression that she could barely get out of bed. Her emotional state could not be explained in postpartum terms — she had suffered from debilitating depression for most of her life, and ultimately received a diagnosis of bipolar disorder when her daughter was a year old.














No, this untitled shot from 2008 isn’t what I’m showing. But I’m extremely proud to have an image selected for this landmark event in Southern California photography taking place at the Los Angeles Center of Photography’s Hollywood gallery location. The exhibition will run through August 12 and features 49 works by what is I’m sure a wide range of local photographic talent.
Details are as follows:
LACP Grand Opening & First Annual Members’ Show!
1515 Wilcox Ave. Los Angeles, CA 90028


Remembering a nice afternoon a few years ago with our friends at Thai Dishes in Santa Monica. Leica 50mm 2.0 Summicron showing what a lovely lens it is.




Inside my mind right now it looks like this image. Except for National Geographic anything. They are not involved in any way. I have an incredible idea for a photographic project bordering on a life’s mission. It consumes every moment I’m online. I won’t talk about it publicly until I’m really well into actually shooting it but a huge part of it is research and planning.
As I’ve admitted in an earlier post, I have become ambivalent towards my LA street photography, a condition that comes at a very odd time considering one of my images will be featured in an exhibition at the Los Angeles Center of Photography. Printing, preparing, and presenting that image for exhibition was rewarding and a somewhat challenging experience that has led me to a different and much better place in terms of my own ability to get my images into a state where they can be viewed and sold.
I have now probably many dozens of images that I’ve been taking in the last month that I’m somehow unable to bring myself to share here. I don’t know why. The only thing I can offer is some vague feeling that they just aren’t good enough or don’t say any of the things I’ve typically wanted my images to say. I’ve had a feeling over the last year or so that I was in some kind of a sweet spot that might not last forever. I don’t know. Maybe I was right.
I really want to thank the many people, friends now, who have visiting and liked and commented on this blog over the last two years and ask for patience as I work through whatever it is I’m going through. You’re probably going to continue to see a lot of much older photography that I’ve done because while I’ve kind of grown kind of cold on the photography I’ve been doing lately, I’m simultaneously feeling a real appreciation and need to revisit and maybe even talk about all the stuff I used to do.
Anyway. The image above was taken yesterday, ironically and appropriately. Please know also that if you see current street photography here on this blog in the coming days and weeks, that I’m as dubious about its quality and worthiness as I possibly could be. To be perfectly honest.



“Another Look at Detroit: Parts 1 and 2,” which opens Thursday and runs through Aug. 8 at the Marianne Boesky and Marlborough galleries, takes place at a crucial turning point for a city that has had so many illusory turning points over the years. The city’s federal bankruptcy case heads to trial in mid-August, a reckoning that will give Detroit a fresh start but will also determine the fate of the Detroit Institute of Arts, whose collection, under siege by the city’s creditors, has become the symbolic heart of the battle between Detroit’s financial future and its cultural past.
via Detroit Artists at Marianne Boesky and Marlborough Chelsea Galleries – NYTimes.com.

Happy Birthday, Sweetie!!!
To know you is to know someone special,
Someone with a warm and thoughtful way
Of making life especially nice for others
And adding so much sunshine to each day…
To know you is to want you to be happy
To have your every wish and dream come true
And so, not just at birthday time, but always,
You’re wished the best that life can bring to you!
Love you! Have a great day!