Today I’m introducing a new weekly compilation of street and documentary photography links and stories I cross paths with, bookmarks and notes that will range from interviews, analyses, and exhibit announcements to photo calls, book releases and practical info for practitioners and enthusiasts. ‘Weekly’ is the working plan, anyway.
What exactly is ‘street photography’? We’ll tackle that another time. I gotta head out now and hit the streets. 🙂
Got a relevant link or announcement you’d like to share? Feel free to drop it in the comments or pass it along via email and I’ll include it next week. Thanks, enjoy and please spread the word!
Rare Detroit pictures seek names for long-lost faces. Mlive. Archivists at Wayne State University’s Walter P. Reuther Library are hoping the public can help put a name to faces that appear in 96 images comprising the library’s recently acquired Edward Stanton Photographs collection.
In the late 1930s and early ’40s, Edward Stanton was a white twenty-something Detroiter and amateur photographer who was enamored with the candid, documentary-style imagery shot by Great Depression-era photojournalists like Dorothea Lange and Walker Evans. Stanton’s interest in street photography led him into the segregated black neighborhoods on Detroit’s near east side.
These neighborhoods were complicated and were never officially recognized on city maps. The most legendary of them, Black Bottom and Paradise Valley, were places of great community pride as they gave rise to a storied entertainment scene and the city’s first black middle class. Yet these parts of the city also suffered under the racist policies that had created them in the first place; they were home to crumbling infrastructure and pockets of deep poverty. In the early 1960s, a few decades after Stanton snapped his photographs there, the city of Detroit literally wiped these neighborhoods away — historic churches, residences, landmark nightclubs and black-owned businesses, all bulldozed in the name of urban renewal. Their footprints now live under the Chrysler Freeway, Lafayette Park, Comerica Park, Ford Field and parts of Midtown.
For nearly five decades, Harvey Stein has been photographing around New York. He sees his work, specifically in the neighborhoods of Coney Island, Harlem, and Midtown Manhattan, as ongoing projects, although he has now published a book on each neighborhood. An edit from all three books will be on view at Leica Gallery in San Francisco through July 22.
In many ways, Stein is a throwback photographer. While he does studio work, he is mostly known for his street photography that is shot on film using two short lenses; he still spends a lot of his time printing his work in a black-and-white darkroom. He calls his process for making the majority of his street photography work “collaborative confrontation.”
The agency has had to move ahead with the times given its seven decades of existence. During this time, the narrative of documentary photography has undergone a sea of change. “New Blood” brings to light the direction in which photography is headed at Magnum. The exhibition consists of works by Matt Black, Sohrab Hura, Lorenzo Meloni, Max Pinckers and Newsha Tavakolian, as well as unique prints from Carolyn Drake’s “Wild Pigeon,” which were shown by way of a satellite presentation at Photo London last month.
At London’s Magnum Print Room through July 29.In Istanbul Modern, an ambitious show on photography in Turkey. Daily Sabah. ‘People Attract Poeple’ looks at 80 years of photography in Turkey through the work of 80 photographers. I’ve visited the Istanbul Modern twice; it’s an excellent museum and on the short list of must-sees that one of the world’s most fascinating cities has to offer. The title? Curator Merih Akoğul explains:
“The title comes from a friend of mine who told me a story about 35 years ago. One night, in a deserted square, an elderly men stepped on my friend’s foot and told him: ‘Well, people attract people’ before disappearing into the night. I used this mysterious story for the title of this exhibition, and my starting point was the Turkish verb ‘çekmek.’ When a photographer takes a picture, she makes a choice. While making this choice her camera is directed to one object or subject among numerous others in a mysterious way. The law of attraction in the universe applies to people as well. The choices made by the photographer point to the existence of a special space of attraction in between people.”
The timeless style of Harry Callahan’s street photography captured in new book and exhibition. Creative Review. Callahan isn’t as well known as other street photographers who worked in the latter half of the last century, but he was influential. The Vancouver Art Gallery received 600 Callahan prints in 2013; of those, 140 black and white and color images are included in Harry Callahan: The Street, images made in the streets of Chicago, New York, Atlanta, Cairo, Mexico, Portugal and Wales, which, according to the show description, cover “a key aspect of his work that has until now been largely overlooked by historians and critics”.
Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day’s best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year.
Staying Invisible. I’m not at all a fan of stalking and sneaking up on people while shooting in public, but do see the obvious benefits of being unseen, or at the very least, low key. Here Swiss street photographer Thomas Leuthard offers a few practical examples of how to manage just that.
Today’s lead image, of a work by ubiquitous Bogota street artist Toxicomano, serves as today’s Pic du Jour, the site’s 910th straight. Bogota, 16 June 2015.