Posts Tagged ‘Photography’

The Odd and the Ugly

Friday, February 10th, 2012

Heather, Ian, Sean Adams, 1971

As someone who needs organization, I spend an inordinate amount of free time collecting family photos, labeling and cataloguing them. I’m fortunate that I have a wide network that can send me a photo of a painting in a hall, or I can track down distant uncles, aunts, and cousins on the Library of Congress website. When I post about someone in the family, I try to find the flattering image. But there is a collection of the weird that I keep hidden. Like Diane Arbus images, these photographs seem to be of marginalized subjects.

There are odd out of place outfits, such as Hallie Erminie Rives Wheeler in full kimono. I find the painting of Constance and Maud Rives to be quite odd. Whose idea was it to dress them as Little Bo Peep? I have a macabre image of William Fontaine Maury in open casket. Why did my grandmother save this? It’s very “The Others.” What’s with the cow? Was this the last prized possession after the Civil War? There is a strange photo of my mother and aunt with the poodle. Why did nobody say, “Mary Kay, you look like Sybil.” Most disturbing, though, and my favorite is an image of my sister, brother, and me in bizarre masks. What I want to know is where is that clown mask now? It’s the scariest mask known to man. I’d like to use it when I drive to meet with clients.

Constance and Maud Rives, 1893

William Fontaine Maury Funeral

Hallie Erminie Rives Wheeler

Mary Kay Adams, Sylvia Flint Adams, 1967

Family portrait, Castle Hill, Virginia, 1880

Diane Arbus, Untitled, 1971

Pictorial Souvenir Discourse Analysis

Friday, January 6th, 2012

Disneyland, A Pictorial Souvenir, 1976

It’s amazing to me when I meet another Los Angeleno who has never been to Disneyland. Are the communists? Did they grow up with abusive and cruel parents who built a Carrie closet? Do they hate the idea of fun? Of course, they typically tell me “It’s not my kind of thing.” Or, “I don’t understand the attraction of contemporary mass market spectacle.” Boring, boring people.

When I was a kid, I had a copy of “Disneyland, a pictorial souvenir”. I know every detail of every image. The images paint such a nice story of a lazy day with family, rock and roll fun with teens, and exciting (but not overly exciting) adventures. When I looked through this recently, I began to decode the images. Yes, OCD, yes geeky, yes, too much emphasis on deconstruction in art school. I found several running themes.

1. Old people and People with hats.

Hats signify an exciting time. There are many matching hats on old people and kids. Old people let us know that Disneyland can be enjoyed by everyone. I know this is true. I’ve been there with my grandparents. Although they preferred that we visit each land in a counter-clockwise direction and never jump between sides of the park.

“I’m cranky, and old-fashioned, but nice to my odd grandson and will wear a funny hat.”

“I’m just like my grandfather, and we love the same things. Hats."

"I'm Nikita Khrushchev and old, but we still enjoy Dumbo.”

“I’m a foreign sailor, and I like to go on dates with American girls."

“My grandmother has some wacky hat fashion sense, but she bought us these hats.”

2. Nuns

There are nuns all over the place in the Disneyland visual landscape. They show up on preliminary sketches, and in souvenir books. I don’t think there is any hidden religious subtext. This has more to do with the supposed cruelty of nuns who slam rulers on Catholic school children. Nuns are not thought of as carefree, anything goes, kinds of women.

“We’re nuns and we’re hardcore. But even we love Mr. Toad's Wild Ride.”

 

3. Blurry motion

These say “speed.” Disneyland can be a crazed, fast paced, and thrilling place. Everything is fast: a hip dance scene in Tomorrowland, Rocket Jets, America the Beautiful Circlevision, the Peoplemover, and the Mad Tea Party Teacups. The Teacups are, and Rocket Jets (now the Astro Orbitor) were, indeed, too fast for me. All that spinning. But the Peoplemover and Circlevision were fairly slow paced. This was good. The Peoplemover had a hard fiberglass interior. I would not want to be in a Peoplemover whipping around the bend that fast, slammed against the hard seat, or in a Circlevision theater with guests throwing up.

"Stop fidgeting, I am not trying to throw you out"

"For the love of God, slow this thing down."

Scary

Nobody drives this fast in D.C., except a Mission Impossible scene

 

4. Leg details

From a child’s point of view this must be what Disneyland looks like. These tell us that cast members are cleaning, the costume characters will interact with children, and there are horses. We also don’t need to involve ourselves with details such as individual people.

"No we don't work here."

 

5. Lingering

Many images show people meandering and lingering. They stare into a shop window on Main Street (why, I don’t know. The door is two feet away). Others look at unique items in the One of a Kind Shop, or watch the The Royal Street Bachelors in New Orleans Square. This tells us that there is time to relax, saunter, and discover stuff to buy. Unlike most of the stores I visit, here I can and linger and not be asked to leave. The downside of these images is the message that it’s okay to walk really slowly down Main Street, 8 abreast. It’s not. Some of us need lunch.

See, again, a boy with freaky feather hat. This is a Fascinator in England.

"I don't think I've ever seen anything as interesting as these, um, huge pepper mills."

"Oh my Fred, so exciting. Stand away and don't think about touching my wig!"


6. Darkness

Whether it’s real night outside, or simulated night in the Blue Bayou, these images are indicators that Disneyland is not just for kids. You can have dinner with your middle-aged friends or neighbors. You can take your spouse on a special dinner date while the kids hang out in Fantasyland. Or you can throw caution to the wind and get groovy with the young adults.

What is it with people who used to have coffee with dinner?

I believe the women on the left is the wig woman. These people are square.

If you're Tricia Nixon, this is your wicked sick scene

You’ll Never Walk Alone

Sunday, November 27th, 2011

Peoplemover, Magic Kingdom

“How many photos of the same ochre door in Liberty Square at Walt Disney World do I need?” Obviously, the answer is “never too many.” Organizing my iPhoto library this weekend, I found the same image photographed almost in the exact same location over the course of ten years. Clearly, each time I see this door, I think, “oh, that would make a nice photograph.” But clearly, my mind is a sieve.

The other surprising discovery was the large amount of Walt Disney World photos sans people. I’m not talking here about the lack of photos of family members. I mean no people, as in Life After People. This tells me something about my psychological makeup, but I can’t focus long enough to know what. I don’t know how I manage to take so many images at a place with millions of people that are devoid of human activity. And there are quite a few images that may have a couple of guests, but are of empty areas of concrete or sand.

I have a secret dream of retiring and creating a job at Disneyland helping people with their photos, and offering guidance to the guests looking lost. “Excuse me,” I would say, “Are you looking for Space Mountain?” Or, “May I help you with a photo tip? Bring your child forward, and let the castle be in the background.” I could wear a white shirt and black bow tie, and be the “Answer Man.” The trick would be to not direct people to shoot scenes without any human presence. “Now wait, ask your child to get out of the shot. Okay, there are no people in the frame, shoot it now.”

Liberty Square, Magic Kingdom

Peoplemover, Magic Kingdom

Space Mountain, Magic Kingdom

Grand Floridian Resort, Walt Disney World

Monorail track, Walt Disney World

Monorail cabin, Walt Disney World

View from Yacht Club Resort, Walt Disney World

Epcot

Odyssey Building, Epcot

Imagination Pavilion

Canada Pavilion, Epcot

Japan Pavilion, Epcot

American Pavilion, Epcot

American Pavilion, Epcot

German Pavilion, Epcot

China Pavilion, Epcot

50s Prime Time Diner, Disney Studios

50s Prime Time Diner, Disney Studios

You’re as Cold as Ice

Friday, November 4th, 2011

The Freezing of the Sea, Antarctica, Herbert George Ponting, 1911

I’ve been accused of being a shut-in. I like staying home, working in the yard, and eating gumbo. I’m not the type of person who would love to eat at fancy restaurants every night. However, for someone who supposedly is a shut-in, I’ve been to every continent on earth except Antarctica. This is one of my goals. I’ve seen documentaries about exploration cruises to Antarctica, but everyone looks like they are over 65. They all have orange coats, and I wonder if that’s coincidence, or a cruise gift.

Herbert Ponting was the photographer on Robert Falcon Scott’s Terra Nova Expedition in 1910. Illustration had been the art form used to document scientific expeditions for centuries. Ponting and Scott were determined to use photography as this resource. Ponting’s work, especially his film work, is the basis for every wildlife documentary we see now. After 14 months with the expedition, Ponting returned to England to catalogue the photographs. The Scott expedition, unfortunately, ended tragically with Scott and the other expedition members died from exposure, malnutrition, and exhaustion. While it may seem gruesome, he was buried inside the Ross Ice Shelf. His body will slowly move toward the sea, and eventually be set adrift inside an iceberg. This seems remarkably fitting for the polar explorer.

Ponting’s images were too sharp and clear for an Edwardian audience who preferred photographs soft and painterly. But this technique was a precursor to modernist photography and the sharp focus of Ansel Adams, Edward Weston, and Willard Van Dyke.

Grotto in Berg, Antarctica, Herbert George Ponting 1911

The Castle Iceberg, Antarctica, Herbert Ponting, 1911

Icebergs, Antarctica, Herbert Ponting, 1911

Herbert Ponting, Antarctica, 1911

The Terra Nova, Herbert Ponting, 1911

The Terra Nova, Antarctica, Herbert George Ponting, 1910

Death of an Iceberg, Antarctica, Herbert George Ponting, 1911

Barne Glacier, Antarctica, Herbert George Ponting, 1911

Antarctica, Herbert George Ponting 1911

Mt Erebus, Antarctica, Herbert George Ponting 1911

Mt Erebus and a Dome Cloud, Antarctica, Herbert George Ponting 1911

Looks like another perfect day

Wednesday, June 8th, 2011

Cheryl Himmelstein, Venice Beach Swimmers, 2002

Since we began working with the Library Foundation of Los Angeles, I’ve spent many hours looking through the Los Angeles Public Library’s resources. As can be expected, there are too many treasures to be discovered. While I was researching images of the Hollywood sign, I stumbled on to these incredible images by Cheryl Himmelstein. The photographs are part of the Library’s online photo collection. If you want to come to Los Angeles, and you want to know what it’s really like, go there.

People outside of southern California have a couple of ideas about Los Angeles. Either everyone here is smoking pot, surfing, and almost comatose, or everyone is packing a gun and flashing gang signals. I’ve been here a long time, and outside of movies, I’ve never met anyone in either group. However, I will admit that I was forced to take a detour this morning due to movie filming at the Greyhound station. And I did see a Jennifer Lopez impersonator in a suspicious white van this morning.

Himmelstein’s images depict a reality without pandering or any sense of condescension. She documents a Los Angeles that is a salad bowl of cultures. But the pivotal element here is the light. Himmelstein doesn’t just shoot the subject, she captures the ephemeral and fleeting light of Los Angeles.

Cheryl Himmelstein, Taco Truck, Lincoln Boulevard, 2002

Cheryl Himmelstein, Lincoln Place Apartments, 2002

Cheryl Himmelstein, Discoteca La Princesa, 2002

Cheryl Himmelstein, Spectacular Venice Beach sunset, 2003

Cheryl Himmelstein, Fog and the homeless on Venice Beach, 2002

Cheryl Himmelstein, Hampton Court, Venice, 2004

Cheryl Himmelstein, Jamie Parker at Big Daddy & Sons, 2004

Cheryl Himmelstein, 1972 Dodge Chinook, Rose Avenue beach, 2002

Cheryl Himmelstein, Venice Beach Cotel, 2003