In casting around for photographers who have generated work that resembles that of Edward Hopper I came across the work of Richard Tuschman. In his series ‘Hopper Meditations’ Tuschman attempts to replicate some of the work of Hopper, focusing on Hopper’s interior images. The image above is based on the image following:
I think that he succeeded in not only replicating the original but also bringing something of his own to the image too.
In looking at the gallery of images on his website I couldn’t figure out how he was making these images – were these elaborate sets similar to those that we saw Gregory Crewdson prepare? Or something else? Take a look at the images and have a guess.
Once you’ve done that check out the videos below for the answer! This article also has a nice discussion of the technical aspects of ‘Hopper Mediations’.
Being able to draw always seemed to me to be something mystical, reserved for the special few, when I came across Danny Gregory’s book ‘Everyday Matters‘ I was sucked in – it intersected two things that I was interested in teaching yourself to draw as an adult and living intentionally everyday. Since 2007, when I first came across the book, I’ve followed the ups and downs of Danny Gregory’s life through his blog and his books. His output shows that it is possible to have a very active publishing career while also balancing the demands of a family and busy career – Danny was a copywriter and creative director for an ad agency for a number of years.
‘Everyday Matters‘ was a reaction to the accident that Danny’s wife had on the New York Subway that left her paralysed from the waist down. It’s a sad story that concludes in his book ‘A Kiss Before you Go‘.
I was prompted to look at Arnold Newman’s photographs this week. Arnold Newman is widely thought of as the ‘Father of Environmental Potraiture’, contributing photographs to all major publications from Life to Scientific American and everything in between. He got his start in portraiture by taking photographs of artists. At the time the artists he photographed were neither rich nor famous and Newman himself was an unknown, honing his craft. His approach of using the camera to explore the world of the person he’s photographing, to show something of their character by placing them in their surroundings began with his work with the artists.
He has said that a good portrait must first be a good photograph. For me the most iconic of his photographs is that of Stravinsky shown above. Stravinsky propping his head on his arm neatly echoes the way that the lid of the piano is propped open. It is a strongly graphic, minimal image that appeals to me greatly. Looking at many of his other portraits you start to see how he has stripped away all but the essentials that he needs to tell the story of the artist, celebrity or statesman.
An exhibition of his work ‘Arnold Newman – Masterclass’ is now showing at the Contemporary Jewish Museum in San Fransisco. If you’re not able to Make it to the show you can watch a gallery tour given by the shows curator William Ewing here. There’s also a catalog to accompany the exhibition that can be had here.
Finally check out the interview with Newman below for insights into how he worked and a behind the scenes look at how some of his most famous images were made.
A section in a book that I’m reading at the moment provided a twist to the ‘you’re the average of the 5 people you spend most time with‘ idea that has been circling the internet for several years now. Specifically it said that if you’re the smartest person you know then you need to get to know some more people, if you’re the most creative person you know then you need to get to know some more people and went on like that for quite a bit. It’s funny that the Ninety Degrees Five group is five people – all are very talented and successful, if the alphabet soup of letters that they are able to append to their names is anything to go by – I wouldn’t mind being the average of this group by any means!
Of this group Christian Fletcher recently won Western Australian Landscape photographer of the year and International Landscape photographer of the year. He’s based in Dunsborough in South Western Australia, which looks like a fantastic part of the world if his photographs are anything to go by and is now on my list of places to visit. Christian seems to work predominantly with digital medium format cameras, which allows him to create large prints of his work, working with photoshop to fully extract the potential in each of his images. Check out the videos below to hear more from Christian himself.
My introduction to the ND5 group was actually through Peter Eastway. I’ve been a subscriber of Better Photography, the magazine that he edits and publishes, for a very long time now and have enjoyed his various online tutorials. In fact as I was thinking over the summer about the options we have as photographers to express our voice Peter’s work came immediately to mind. I essentially decided that there were two places in which your voice can shine through – in the subjects you choose to photograph and then how you choose to process those images. Peter has a really unique style that, to my mind at least, is largely achieved through his post-processing work. In particular I feel that he has developed a a distinct and unifying color palette, perhaps not intentionally, through the consistent use of a particular set of tools in photoshop. The masterclass tutorials show you his process in detail and are worth a look. For single image processing check out his photo atelier series which give a behind the scenes look at Peter’s thought process.
I found the interview below to be a fascinating look at how Peter thinks and works. Check it out:
It seemed appropriate, given where my head has been in the last few weeks, to look at the collaborative group Ninety degrees Five this week. One of the questions that I’ve been asking is ‘as a beginning photographer how can you accelerate your improvement’ and realized that being part of a working group can greatly help. While I was thinking about that I was also wondering once you ‘make it’ whatever that means to you then what. Does the group that you’re a part of still work for you, do you move onto a new group that are more aligned with where you’re currently at? Where do the modern day masters go for feedback?
One of the things that came out of the Impressionists was a group sensibility within which the individuals still had a indue voice. I think that could also be said for this group too. The work hangs together as a whole and yet they clearly have distinct voices. Check out the videos below for more about the Pilabara project and South West Light.
I’ve been working through how to give meaningful feedback to other photographers about their work and in the course of that I realize that our reaction to work tells us more about ourselves and less about the photographer. That was certainly the case with my initial intersection with Wynn Bullock. Bullock is generally regarded as one of the most significant photographers of the mid-twentieth century. He was a close friend of West Coast photographers Ansel Adams and Edward Weston and a peer of Minor White, Aaron Siskind and Frederick Sommer. I remember seeing his famous photograph Child in the Forest from the 1955 Family of Man exhibition curated by Edward Steichen and dismissed him as not doing something that I was interested in.
I was recently given a copy of ‘Wynn Bullock: Revelations‘, a comprehensive look at his entire body of work that was produced to support the exhibition now showing at the High Museum of Art in Atlanta, Georgia. Of course there are a good number of nudes included in the book which was where he was as a photographer early in his career but then there are a large number of images such as the one above that reflect his interest in how to represent time in a still image. There are a large number of abstract color images that I also find very interesting.
In listening to the interviews with Bullock below much of what he has to say about his photographic explorations resonated with me. Well worth a look.