Tag Archives: Photography

LIFE, DEATH AND THE HUMAN DRAMA: ARTHUR ‘WEEGEE’ FELLIG

weegee-1940
Heatspell, 1938.  Children sleeping on the fire-escape. Crowd at Coney Island, 1940. weegee-arthur-fellig-6 "Hopper's Topper," Hedda Hopper, Hollywood, ca. 1948
524af0b40584amarilyn-monroe-c.-1960 36340-510815
CRI_208781 weegee-arthur-fellig
ouyntHYn8fh0m292DslakEQ4o1_1280 Radical-Cam-10_Leipzig_Chalk-Games2 weegee-2 10 fp07_0142_0051-custom f6da76ce-994d-4b69-9a79-2b94e1d76282_o-custom weegee-arthur-fellig-5 weegee-photographs weegee-arthur-fellig-1 weegee-arthur-fellig-10 weegee2

“He will take his camera and ride off in search of new evidence that his city, even in her most drunken and disorderly and pathetic moments, is beautiful.”

American photographer of Polish birth. He emigrated to the USA in 1910 and took numerous odd jobs, including working as an itinerant photographer and as an assistant to a commercial photographer. In 1924 he was hired as a dark-room technician by Acme Newspictures (later United Press International Photos). He left, however, in 1935 to become a freelance photographer. He worked at night and competed with the police to be first at the scene of a crime, selling his photographs to tabloids and photographic agencies. It was at this time that he earned the name Weegee (appropriated from the Ouija board) for his uncanny ability to make such early appearances at scenes of violence and catastrophe.

Weegee made only a meagre existence from his photographs, mostly shots of bloody murders, fires, the seedy Bowery district and sympathetic views of people who lived on the streets of New York at night. Weegee became a master of the sensational. Despite this fact, one of his most famous images is The Critic (see Naked City, pp. 130–31), a photograph of high society. It captures the tiara-crowned heads and diamond-laden necks of the wealthy Mrs George Washington Kavanaugh and Lady Peel, who are both scorned by the sneering silhouette of a middle-aged street woman. The Critic was very different from Weegee’s many bloody street scenes from the time, for example the image of a murdered racketeer (see Naked City, p. 87).

In 1945 Weegee published his first book, Naked City, followed in 1946 by Weegee’s People. The success of Naked City was tremendous and ensured his financial security. Having suddenly achieved this fame, Weegee went to Hollywood where he maintained his nocturnal schedule but made portraits of film stars and fashionable night spots, which he published in 1953 in Naked Hollywood. In 1945 Weegee also received the professional approbation of Edward Steichen, then Director of Photography at MOMA, New York, who included Weegee’s work in the exhibition 50 Photographs by 50 Photographers. Having gained recognition after the mid-1940s as a photographer in circles outside the tabloid press, he turned to more self-consciously artistic photo-caricatures of celebrities using distorting trick lenses, for exampleMarilyn Monroe (see Naked Hollywood, cover).

Weegee usually used a standard press camera, a Speed Graphic with a 4×5 inch format and automatic flash. He had little knowledge of, and little interest in, purely artistic photography, and neither his compositions nor his prints were made with particular care in the early part of his career. Weegee’s artistic ingenuousness is demonstrated by the one term he adapted from art, ‘Rembrandt lighting’: by this he referred to the use of a dark background with the subject in bright light; he accomplished tonal selection automatically by the use of flash. This lighting was the key to the striking effect of his photographs: with it, he claimed, he could render a gruesome scene less distasteful, while still providing enough high-contrast detail to help the publisher to sell newspapers, even when reproduced in the dots of newspaper half-tones.

Weegee also made many night photographs using an infra-red flash, allowing him to photograph voyeuristically such scenes as lovers at a film or on a park bench (seeWeegee’s People, part 1, no. 10). With infra-red film and flash he also captured high society at night. This lighting made women’s make-up garish, emphasized their facial veins and deleted dental caps in the smiles of New York’s privileged classes; After the Opera … At Sammy’s Night Club on the Bowery (see Weegee’s People, part 2, no. 19) illustrates this well. Weegee can be seen as the American counterpart to Brassaï, who photographed Paris street scenes at night. Weegee’s themes of nudists, circus performers, freaks and street people were later taken up and developed by Diane Arbus in the early 1960s.

Oxford University Press

PORTRAITS OF LONDON YOUTH OF 70s AND 80s: A NEW BOOK BY DEREK RIDGERS

00 0 1 2 3 4 7 6 5

On Jan. 13, 1973, Derek Ridgers remembers pushing his way through the crowd at Eric Clapton’s Rainbow Concert, climbing over the fence and joining the press to photograph the rock legend. At the time, Ridgers worked in advertising and was surprised how easy it was to fake being a press photographer. He quickly realized a camera could help him approach his heroes and idols; he has been photographing famous bands and musicians ever since.

Ridgers, however, didn’t focus his camera solely on the stage. In 1976, he turned his attention toward another group of people: a loud and energetic crowd of punks. “What could be more photogenic then punks in clubs?” he asked. His new book, 78-87 London Youthfull of portraits of painted faces, colored hair, tattoos, and eccentric clothing, proves his point.

From 1978 to 1987, Ridgers would go out up to three times a week to Billy’s, Blitz, Taboo, Electric Ballroom, or other iconic clubs based in East or North London. Often, he hitchhiked back to his home in West London, returning in the early morning, just hours before having to start his day job. Although the photographs make him seem as though he was in the heart of the punk scene, Ridgers hardly drank, didn’t touch drugs, and was alone observing from the sidelines. He stood quietly in the shadows of the clubs with a notebook and camera, sometimes waiting hours before taking a shot. He only wanted to photograph people he was drawn to and would make sure to position him self strategically next to an interesting backdrop or hallway.

Derek Ridgers official site

Buy ‘LONDON YOUTH 78 – 87’ on Artbook.com

Slate.com

%d blogger hanno fatto clic su Mi Piace per questo: