Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts

Before Humans of New York became a social media sensation and before Bill Cunningham made street photography fashionable, Helen Levitt, inspired by a conversation with Cartier-Bresson and took to the streets of Manhattan equipped with a Leica. She slipped past the glitter and lights and makeup to examine the underbelly, the grit. Hers was the city that built the city - the myth that is New York. From the late 30s, and well into the 90s, she wandered through poor, working-class neighbourhoods, alert to their incredible life, sensitive to how they pulsed with interaction. She captured evanescent moments of joy and beauty, the pleasure and play of children, men and women, talking, waiting, watching as cultures and communities connected on the street to make and shape the New York we now know. Towards the end of her long life (she died in 2009, aged 95), she lamented that much of what she photographed had vanished. “I go where there’s a lot of activity,” she said. “Children used to be outside. Now the streets are empty. People are indoors looking at television or something.”


You can read and see more about Helen Levitt in the New York Times' obituary for her.

Helen Levitt, New York, c.1940

 
Helen Levitt / New York City, c 1940



Helen Levitt 1928-2009 New York City (Girl with Lily). From Joshua P. Smith Collection of Photographs

Well Dressed Man on the Streets of New York City, 1940 by Helen Levitt
Helen Levitt / NYC (Phone Booth) 1988


Note: All copyright belongs to the artist/owners of the copyrights themselves.
I worked at Leo Burnett Hong Kong in the mid-90s as an associate creative director, shortly after Stefan Sagmeister's and Stuart D'Rozario's time there. I took the spot Stuart vacated when he went to Cole and Webber. It was a magical time and one of my magical clients was United Airlines. 

I wrote a campaign for them that called for a subtle anti-advertising take on what made them special and my art director Ferdy Van Alphen and I, felt photojournalism was the only way to do it.
We contracted Bruno Barbey, the Magnum legend, to shoot the campaign and it turned out to be a bit of an award winner. I even hired a few of my friends as talent for a couple of shots when the local Indian talent pool ran dry briefly. 

Bruno was a soft spoken but intense man who endeared himself to me forever when he admitted he chose to do the book on my hometown Bombay for Time-Life's iconic series, rather than Bangkok.
Bruno Barbey made our campaign incredibly powerful because he made it incredibly real in a human way, a gift that informs all his photographs.  

Bruno has shot war and peace with equal insight and here are few photographic fragments that show how he uses colour and composition to bring the human into focus.
 







Note: All copyright belongs to the artists/owners of the copyrights themselves.







Edward Curtis: Navajo Medicine Man, Princess Angeline, Hopi Mother

These faces from another time in the work of Edward Curtis are an act of photographic conscience.







Ever since I worked with Bruno Barbey in the mid-90s I have been fascinated with the photographic resplendence radiated by all things Moroccan. Imagine my delight when photographer friend and collaborator Richard Picton drew my attention to the extraordinary vibrant work of the Morocco-born Londoner, Hassan Hajaj, in a Guardian photo feature. With self-assembled frames made from rubber, cloth, plastic, toys, tile and popcans, and portraits that are equal measures of pigment, people and pattern, Hajaj dazzles the heart of the eye where colour lives.

photos via the Guardian, the Sultan Gallery, What's up and other sources.

Note: All copyright belongs to the artists/owners of the copyrights themselves.
Years ago, I tried to work with Magnum photographer Steve McCurry and contacted Magnum to bring him to Canada to work on a BMO campaign. Alas, it didn't work out - logistics and availability didn't dovetail neatly enough for the client. 
In the end, I went with Robert Earnest who won several awards for the photography on that campaign. (Will share those at some point.)

Steve McCurry is an artist whose paintbrush is opportunity, that most fickle of mistresses. The result is a series of extremely gratifying retinal explosions. 

Rang bharela, rang be rangey we would say in India (one of McCurry's favourite subjects): stuffed with colour, colour upon colour, bursting with colour.

Do not rub your eyes. This is real. 

Note: All copyright belongs to the artists/owners of the copyrights themselves.














Article: Creative Commons License 2012 Gavin Barrett
This work is licensed under a Creative Commons Attribution-Noncommercial 2.5 Canada License.


In this series of posts on great multicultural photography, I must confess to a deliberate, simple editorial decision - I use the word multicultural to simply mean subjects that are not Western European or white Anglo-American. All other cultures, ethnicities and traditions have been included. 

However, I have not viewed photographers through the same lens as their photography. These images have been shot by great photographers from around the world. There are French and Chinese photographers, Indians and Italians, Americans and Brazilians - all that matters to me is that their eyes saw the wealth we have been blessed with. All copyright belongs to the artists/owners of the copyrights themselves.

Ladies and gentlemen, Irving Penn.










Irving Penn

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