WILLIAM EGGLESTON: “Draft of a Presentation” (2003) – AMERICAN SUBURB X

“It’s hard for me to describe the fascination that William Eggleston’s photographs exert on me. More than twenty years ago, I bought William Eggleston’s Guide, the catalogue of his solo show at the Museum of Modern Art in New York City in 1976.”

Source: WILLIAM EGGLESTON: “Draft of a Presentation” (2003) – ASX | AMERICAN SUBURB X | Photography & Culture

Nikon at the Playboy Mansion

To mark the passing of Hugh Hefner I’m reposting this from years gone by. RIP Hef. Lord knows you’d need some rest by now. 😉

So let me tell you the story.

I get a call from a BET producer on a Friday night asking if I can go shoot an event for her at the Playboy Mansion the next night. It might come as a surprise to most people but the Playboy Mansion is the site of innumerable charity functions. I’d been up there before. Swam in the grotto pool. Blah blah blah.

But never, slow my rapidly beating heart, had I ever been there with a camera and a press credential.

So of course, I say yes! The problem, however, is that at that time in my life my health was absolutely miserable. So when the next day dawned blisteringly hot, I was both sick and apprehensive.

To get to these things at the Playboy Mansion you have to shuttle over. Actually they’re full-sized buses and you usually depart from a giant multi-level parking garage somewhere else on the Westside of Los Angeles. That was the case when I had my significant and dubious girlfriend of over three decades drop me off at the parking garage.

And I was still feeling very bad. And it was hot as Hades. I gave her strict instructions to be ‘on call’ cell phone on because I knew there’d be a long wait in a smothering parking garage and that I’d probably bail even before the first bus departed.

That was at 5:00 pm west coast time. Girlfriend didn’t hear from me again until near 1:00 am, when she found me lying on the sidewalk where she left me, drenched in sweat, with an absolutely stupid semi-permanent smile plastered on my half-crocked visage.

Yes. I was there a LONG time. I went through three or four different types of event photography all in one night. Red carpet. Long lens daylight candids. Available lowlight shooting. Standard event flash photography with the SB-800 and the 24-70 f2.8 Nikkor.

Lot of great stories. Met a lot of great people, believe it or not.

A pair of young female reporters for an online publication that covers charity events hooked up with me on the bus over. I guess this is when you know you’re getting old and harmless as a guy and maybe just a little pathetic. For a lot of the evening one of the very nice young women carried my heavy camera back pack around for me. Are you kidding me? Nice girl, definitely not from L.A.

At one point in the dusky part of the early evening, after sundown but when there’s still some light in the air, and of course there’s plenty of lighting at the event, a heavily geared up Canon shooter came up to me while I was shooting with the 70-200 f2.8 Nikkor. This is in the early days of the D3. He was very irritated with me for some reason and he says, “You know you’re not getting anything with that lens in this light?”

That was right around the time the picture at the top of this post was taken. And this one.

I’m linking to a Flickr slideshow of the images that ended up being used not by BET but another publication. They might appear a little soft in the slideshow as they are only 800x on the long end. It’s the entire gallery of ‘safe’ images.

But I’m also including below a definitevly NSFW slideshow of images that have never been seen by anyone but myself. These are of body-painted girls and when I say NSFW I really mean it! These are not your father’s body-painted naked girls here.

It’s the Playboy Mansion. What’d you expect?

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Street Rider – Edited

I’m sorry. I did a crop on my iPhone of this picture, something I often do, and had to have it here instead of the original uncropped version. Other than that, have a nice day!

 

A Birthday Card to My Self

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I snapped this scene about 500 feet from my front door last year at this time. It captures the cool late-afternoon shade provided by the massive buildings in Century City and, here and there, an actual tree or two.

I’m 60 years old today. For a person from where I’m from — anyone, I would think, but certainly me — how far I have come to get where I am today is something that is never far from my mind. So, for me, this image is a representation and reminder of that as well.

Anyway, have a great day everyone and I will now continue trying to forget how old I am and go on with the happy illusion that I’m 30 years younger. 😉

City of Night

donald barnat's avatar50'Lux

I grew up in Aliquippa, Pennsylvania. Aliquippa was the home of a giant steel mill; at one time it was the largest in the world. The entire monstrosity was near 11 miles long and employed close to 15k workers.

The town was like something out of a rust-belt boom-town dream. Or was it a nightmare? Aliquippa was in the Guiness Book of World Records for having the most bars per square mile. A recent article in our local newspaper put it this way. “Aliquippa was a dirty little town of 30,000 with more bars, bordellos and gambling rooms than most would care to admit. In 1918, a state Supreme Court justice offered the following assessment of Aliquippa:

It is said that the region is largely peopled by uneducated foreigners, who invariably carry concealed deadly weapons; that murders are common; and that when a quarrel ensues, the question as to who shall be the murdered…

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Faces of Ancient Street Shots of Los Angeles

donald barnat's avatar50'Lux

More from the Nikon Coolpix 950. Probably from around 2000 to 2004. I’m like Vivian Maier Lite. Less calories. Less filling. Etc. Please enjoy responsibly.

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Son of Even More Ancient Street Shots of Los Angeles

donald barnat's avatar50'Lux

Yes it just keeps on going. I THINK all or most of these were taken, as were the rest in this week’s blast from the past, with the Nikon Coolpix 950. Trusty little devil. Between 2000 and 2004. Which is mighty trusty indeed for a first generation digital camera. Solid.

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More, Even Better, Ancient Street Shots of Los Angeles

donald barnat's avatar50'Lux

Again, these images were taken with one of the first great digital cameras, the Nikon Coolpix 950. Probably from around 2000 to 2004. I had so much fun with this camera that twisted the part with the viewfinder from the side with the lens. Twisty little sucker. Like having a viewfinder camera and I don’t know why I remember it being ‘live view.’ Maybe I’m misremembering. Anyway. Yet even more images to come tomorrow.

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My Ancient Street Shots of Los Angeles

Very busy time for me. Please accept and enjoy these collections from last summer while I re-situate. 😉

donald barnat's avatar50'Lux

All of these images predate even my first DSLR, the Nikon D70. These were, believe it or not, taken with one of the first great digital cameras, the Nikon Coolpix 950. Probably from around 2000 to 2004. Yes, I’ve been doing this a long time. More to come.

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The Truth About Us

l1088744My sister came to Los Angeles this past summer to visit us for the first time. It was really wonderful to have her here after all these years. But not long after her arrival she would inevitably see her first homeless person. Literally, her first. Yes, at 60+ years old, my small town Pennsylvania sister had never seen, in her life, an actual homeless person in the flesh.

It affected her deeply. At one point almost to tears. I don’t want to overplay this but it was obvious she was having a hard time getting past her sudden exposure to this ubiquitous part of the urban LA landscape for the first time. We had to work through it a bit and I’ll leave it at that.

After my sister left LA her reaction to seeing homeless people for the first time, and she saw a lot of them in the few days she was here, stuck with me. It called to mind how our mother reacted to the homeless problem in LA decades earlier.

My mom came of age in the Great Depression and had to quit school after the first grade to help support her family by picking cotton for 50 cents a day. Mom went on to be a business woman and active in politics, a heath inspector for the Commonwealth of Pennsylvania… but whatever she did in life she did on the back of that one year of schooling and with ‘The Depression’ always on the tip of her tongue.

So I can’t recall that we ever drove past a homeless person with mom in the car without her calling attention to the situation verbally. It would be something like, “Look at that poor soul. We’re so lucky.

I would love to be able to tell you that after a few years of this (or even weeks) my reaction to my mom’s unrelenting response to the sight of the homeless was limited to mere eye-rolls. I’m ashamed to say it was not. I pleaded with her to stop. Please, Mom. Just stop. 

Thanks to my parents’ hard work and devotion to us, my sister and I grew up thinking we were rich. But growing up in the shadow of one of the largest steel mills in the world, and knowing I would most likely end up working there, which I did, began the process of disabusing me of the idea that I might be rich.

But it would be at music school in Boston, in my early 20s, when I more fully began to learn the score. The actual score. No pun intended.

Not only was I not rich, going to school in Boston showed me that I hadn’t even grown up in the American middle class. The ‘rich’ people in my hometown? They were middle class. At best.

So the point of this digression is this. We’re here in Southern California. That was no small accomplishment in and of itself. And we weren’t out in the valleys or outer counties. We were on the tony Westside. And we’re trying to ‘make it’ and anchor ourselves here and, little did we realize at the time, we would be doing so for the rest of our lives. That’s an entirely different story for another time. But the point, again, is this. We didn’t need to have our gaze constantly focused on human desperation.

We didn’t come from that and no, mom, we had never seen it at this level before either. But we needed to adapt. We needed to learn to react to the urban landscape in the way that the people who don’t have to worry about making it or anchoring themselves in Los Angeles do. Those are the people who were here before us. The people who will be here after we’re gone.

Without fully explaining Los Angeles or the coastal areas of California or even Manhattan to people who have never been here or there… there are a lot of those people. This is an affluent state and it is the most populous state in the country. And unlike the vertical cities back east the affluent of California live largely in single family homes. So the affluence is spread out. Far and wide. This is their state. It belongs to the affluent.

A long long time ago, in a place far far away, someone saw their first homeless person. But I’m not talking about someone like my sweet sister, or me, or my mom. I’m talking about the first affluent person who had the wealth and power to do something about that homeless person’s circumstances and didn’t. The first wealthy and powerful person to walk or ride by a homeless person and ignore their presence and their plight.

What culture and what economic system created that person? The person who thought it was acceptable? As I said, to be sure, it was a long time ago.

Homelessness was not, it turns out, acceptable to my sister. Literally, she could not accept it. And I guarantee you that she’s not alone and would not be unique in her visceral physical response to seeing people, for the first time, covered in rags and living on the street.

So my greater point is this. There is a difference in cultures in this country. We know that to be true in so many instances. Regional differences, economic and class differences, racial differences, political differences. But we should make no mistake (to borrow a phrase from my mother) in believing that there isn’t a very old culture of wealth and privilege in this world that decided centuries ago that homeless people sleeping somewhere on their streets was an acceptable or maybe just unavoidable aspect of life on this planet.

I believe the time is long overdue for the perspective of someone like my sister to come front and center into the conversation about homelessness in America. A perspective that doesn’t simply offer rhetorically that homelessness is not acceptable, but one that is literally not capable of accepting this failure of our own humanity.

I will not hold back from offering that I believe the further up you go in the economic ladder in society, the more acceptance there is of the societal failure represented by the presence of homeless people living on the streets. But the blame doesn’t belong solely to any one group or social class or culture.

The truth is, we accept the homeless and their suffering. We are inured to it. Someone maybe led us down the road to acceptance a long time ago but the truth is now that it is too many of us who find homelessness to be an acceptable aspect of modern life in America. It is not acceptable and never will be.

A note on photographing the homeless and my images. I shoot a lot of pictures as anyone who follows this blog knows. I therefore end up with a lot of images of homeless people. I don’t post most of those images. There is a notion that has been expressed by other photographers that it is questionable to make images of people at their worst and then publish those images to the world. The many reasons have been eloquently expressed by other street photographers. I don’t subscribe to their thinking, however, and I don’t agree with the basic arguments that are made.

But I also don’t frivolously publish pictures of homeless people for many reasons of my own.

I do think, however, that it is very important for street photographers at this time to photograph the realities of people living on the streets. I don’t think there is any one or even a few simple formulas for accomplishing this important photography. We all must bring our own creative aesthetic as well as our own motivations to the task of producing images that reveal this human disaster that is happening all around us. I will in the coming months expound on what I think matters about my images of the homeless. What matters about them in a photographic sense. Why I think and hope the images I choose to show do the job that surreptitiously taken candid photographs of the homeless should do.

Anyway. Today we inaugurate a new president. Seems this is a good day to make a change in the focus of this blog to more serious issues.

Thank you.

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The Democratic Forest: William Eggleston

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“Eggleston was in New York during the last week in October for the opening of a new exhibition of his work at the Zwirner gallery that runs through December 17. All of the nearly 50 images in the show were taken in the ’80s as part of a mammoth series called The Democratic Forest, which in its entirety includes some 12,000 images. But in the Zwirner show, for the first time, many of the images have been reproduced on a giant scale, some of them five feet across. Staring at them on opening night (and it is a measure of how Eggleston is idolized, particularly by the young, that hundreds of people braved a truly filthy rain to attend the opening), I thought, when you make a picture that big, there is no room for error, no place for a photographer to hide. And in this case, no need. You could put these pictures on a billboard, and they would lose none of their integrity.”

Source: William Eggleston: The Father of Modern Color Photography – The Daily Beast