DANIELLA ZALCMAN . PHOTOGRAPHER

From L1GHTB1TES

New York + London 52, 2013
Our lives are surrounded, flooded by images. All of these images have an impact on us, but only a few of them register consciously and give you that ‘aha’ sensation. Daniella’s New York + London did just that to me: there’s some playful immediacy about them, you’re drawn into a game of trying to guess where they were taken. At the same time, many of them take you floating above these cities, showing you the world from a dreamy, lonely, god-like perspective.
GL: How did you discover your method of digital double exposure?
DZ: I basically had no experience with double exposures before this project, outside of accidental composites in my film photography. A few weeks before I moved to London I stumbled across the Image Blender app and thought it was kind of fun, and so when I came up with the idea for New York + London it just clicked.
daniella zalcmann ny:lnd 1All of the photos for my New York + London project were taken very casually — in New York, they were taken with a twinge of nostalgia as I was preparing to pack up and move, and London they were taken through the eyes of a tourist, essentially, in my new home. None of the images were taken with composites or specific pairings in mind — that all happened organically. For this specific double exposure, the New York photo was taken while on an assignment for the Wall Street Journal on the 100th anniversary of Grand Central Terminal, and the London image was taken just around the corner from my flat in Pimlico.
GL: With street and documentary photography we all have our methods of being (almost) always ready to take a picture. How would you compare your own attitudes and strategies when you’re shooting film, digital or on a smartphone?
DZ: My attitudes differ pretty dramatically depending on whether I’m working with film, a DSLR, or an iPhone. With medium format film I’m slow and thoughtful, with my DSLR I’m a little trigger-happy. The iPhone is somewhere in between — because it’s such an informal medium, I tend not to overthink framing and composition, which can be surprisingly freeing.
18My phone is almost always in my hand. It’s a horrible habit (born of spending many years as a spot news photojournalist in New York City and always being on call in the event of… pretty much anything), but it means I’m always ready. For New York + London I was a little less in street photography hunting mode because so many of these images are architectural and, thankfully, buildings are a little more forgiving than people.

 

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Eric Kim: 10 Lessons William Klein has taught me about Street Photography

William Klein

William Klein (born April 19, 1928) is a photographer and filmmaker noted for his ironic approach^[1][2] to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography.^[1] He was ranked 25th on Professional Photographer‘s Top 100 Most influential photographers.^[3]

Trained as a painter, Klein studied under Fernand Léger and found early success with exhibitions of his work. However, he soon moved on to photography and achieved widespread fame as a fashion photographer for Vogue and for his photo essays on various cities. Despite having no training as a photographer, Klein won the Prix Nadar in 1957 for New York, a book of photographs taken during a brief return to his hometown in 1954. Klein’s work was considered revolutionary for its “ambivalent and ironic approach to the world of fashion”,^[1] its “uncompromising rejection of the then prevailing rules of photography”^[1] and for his extensive use of wide-angle and telephoto lenses, natural lighting and motion blur.^[1] Klein tends to be cited in photography books along with Robert Frank as among the fathers of street photography, one of those mixed compliments that classifies a man who is hard to classify …..Wiki

Eric Kim on his blog has listed 10 things that William Klein can teach us about street photography

1. Get close and personal

2. Keep a ‘photographic diary’

3. Go against the grain

To see the rest and the reasons why getting close and personal matters go here

©William Klein

 

British Journal of Photography Ones to Watch: Pari Dukovic

Pari Dukovic has been selected as one of BJP’s 20 photographers to watch in 2013

Image © Pari Dukovic.

Born in Istanbul in 1984, Pari Dukovic got into shooting stills through his father, who wasn’t a photographer but had worked in a portrait studio as a teenager, “pulling the glass plates and taking them to the printer to be enlarged for silver gelatin prints”. The excitement of that experience was passed on to his son.

 “He has always been my biggest inspiration and the strongest supporter of my journey to become a photographer, and was a big influence on me picking up a camera and starting to shoot,” says the 27-year-old, who now lives in New York. “I got my first camera as a birthday present when I was eight – an all-mechanical Zenit 122. It was a huge camera for me as a little boy, but my dad wanted to get me a real camera that would last a long time. At that age, I was just taking family pictures for fun, but things started to click when I was about 14, when I started looking at books by famous photographers such as Henri Cartier-Bresson. I loved his work. Growing up in Istanbul, a city with such old-world charm, made me connect with his work, especially the photographs of the streets of Paris.”.….MORE

From a series Fields of Glory, see more on the website here

www.paridukovic.com.

Read more: http://www.bjp-online.com/british-journal-of-photography/feature/2233733/ones-to-watch-pari-dukovic#ixzz2IEbJzK7n
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Nan Goldin Photographer

Rather surprisingly our most successful post ever has been about Nan Goldin, a photographer of great merit but who probably divides opinions. This from the Tate website gives an artist biography and has images.

“American photographer. Goldin began taking photographs as a teenager in Boston, MA. Her earliest works, black-and-white images of drag queens, were celebrations of the subcultural lifestyle of the community to which she belonged. During a period of study at the School of the Museum of Fine Arts in Boston, she began displaying her work in the format of a slide-show, a constantly evolving project that acquired the title (appropriated from The Threepenny Opera by Kurt Weill and Bertolt Brecht) The Ballad of Sexual Dependency in 1981. This collection of images had a loose thematic structure and was usually shown with an accompanying sound-track, first in the clubs where many of the images were taken and then within gallery spaces. In the 1990s Goldin continued to produce portraits of drag queens, but also made images of friends who were dying of AIDS and recorded her experiences travelling in Asia…”.….MORE

Misty and Jimmy Paulette in a taxi, NYC 1991

© Nan Goldin, courtesy Matthew Marks Gallery, New York

Nan one month after being battered 1984 Nan Goldin

© Nan Goldin, courtesy Matthew Marks Gallery, New York

Greer and Robert on the bed, NYC 1982

© Nan Goldin, courtesy Matthew Marks Gallery, New York

There is a very interesting interview by Angelique Chrisafis in The Guardian

‘My camera has saved my life’

From New York’s druggy nightlife to her parents ‘making out’, Nan Goldin chronicles the real and the raw. She talks to Angelique Chrisafis about art, pornography and tabloid critics

“Nan Goldin leads me into the bedroom of her Paris apartment, fluffs up a pillow and settles down on her bed, lighting a cigarette. Her pink dressing gown hangs over the door of her wardrobe; there are black and white stills on the wall. It’s fitting that the legendary photographer should want us to talk in her bedroom, side by side on the patterned bedspread: long before Tracey Emin’s unmade chaos, Goldin specialised in the silences of rumpled sheets. Since the early 1970s, she has shot herself and friends in bed – having sex, sleeping, arguing and, after Aids struck, dying. She curled up with her boyfriend Brian, and later shot a bruised self-portrait after he hit her.”.…MORE

Here are some links for further study

http://en.wikipedia.org/wiki/Nan_Goldin

http://www.matthewmarks.com/artists/nan-goldin/

http://www.artnet.com/artists/nan-goldin/

http://www.moma.org/collection/artist.php?artist_id=7532

and here is a link to our original post

The Disappearing Face of New York

A catalogue of shop fronts fast disappearing from the streets of New York, fascinating in the repetition and similarity as well as the sense of loss evoked in many of these

‘During the eight years it took James and Karla Murray to complete this project, one third of the stores they featured have closed’

Want to see more

Paris Photo 2010: The World’s Premier Fair for Photography

Annual photography fair Paris Photo brings together, from November 18th to the 21st, one hundred international galleries and publishers presenting a panorama of the finest examples of photographic expression from the 19th century to the present day.

Paris Photo turns the spotlight on the Central Europe scene, revealing new talents through awards and competitions and offers a rich program of events and encounters.

The 14th Paris Photo edition coincides with the biennial “Mois de la Photo”, a month-long photographic event, turning the city into the photography capital of the world in November.

With 78% of foreign participation, 25 represented countries, 31 new comers, this year’s edition marks the return of US galleries and a stronger showing of contemporary art galleries with Beaumontpublic (Luxemburg), Ernst Hilger (Vienne), I8 (Reykjavik), Anne de Villepoix (Paris), Hervé Loevenbruck (Paris) or Yossi Milo (New York).

http://www.parisphoto.fr

 

Walker Evans

“Stare. It is the way you educate your eye and more”
Walker Evans