#thepicturethestory #faheykleingallery Rodney Smith, Skyline In the spring of 1995, I was commissioned by the New York Times Magazine to make this picture. Earlier, I had done Hemline and Airline, as part of what became known as ‘the line pictures,’ and now I was asked to shoot Skyline. The only directive was to have the New York skyline in the picture. We found a barge that was large enough to put the crew in the middle of the Hudson River. The day of the shoot, it was raining, and the art director asked me if we should reschedule for another day. I remember feeling that shooting that day was fine. I have always liked rain. It makes things enigmatic, dimensional, and unresolved. It took some hours to get the barge in place, and by then it was raining quite hard. We got everyone dressed quickly, and I found myself waiting, as the barge drifted slowly, for just the right moment, when the man’s hat fell between the Twin Towers. I took a few frames and the job was done. One never knows which pictures will strike gold. This one, even before 9/11, was extremely popular, and since then it has become almost an icon. The difference is that, following 9/11, the picture has been in demand everywhere but New York City. The events of that day are still too close for those who were there. A photograph always has a history. It captures a time and a place, and is able to halt life, if only for a second. Of all the pictures I have taken, this one is the most indelibly connected to its moment. It is a timeline as well as a skyline. Rodney Smith was a prominent photographer, whose whimsical work invited comparisons to that of Belgian surrealist Rene Magritte. He combined portraiture and landscapes to create enchanted worlds full of subtle contradictions and surprises. Using only film and light, his un-retouched, dream-like images were matched by the craft and physical beauty of his prints. Mr. Smith was a man who cared deeply about sharing his vision with humor, optimism and grace, despite all the harshness of the world.
Check out today’s feature on Lauren Greenfield: @greenfield_lauren @newyorktimes.city #laurengreenfield #newyorktimes #generationwealth #fkg #faheykleingallery #availableatfkg Perhaps because she has spent her career watching the rich, the photographer and filmmaker Lauren Greenfield is herself rich to watch. At a party after the New York premiere of her new documentary — “Generation Wealth,” about the perils of capitalism — Ms. Greenfield was wired, welcoming and constantly working. She snapped pictures of the well-heeled crowd as she hugged her way around the room, occasionally misplacing a glass of white wine, in a churn of compliments and gossip. Ms. Greenfield, 52, paused to note that one prominent guest had left the festivities early: Jacqueline Siegel, the star of her best-known documentary, “The Queen of Versailles,” about the construction of a $100 million house amid last decade’s financial crisis. Ms. Greenfield observed that in the intervening years, Ms. Siegel’s bosom seemed to have grown inexplicably, much like the national economy. “It’s a metaphor,” Ms. Greenfield said, “for the excess of the new American dream.” (Through a spokesman, Ms. Siegel, a self-professed patron of cosmetic procedures, denied that she has recently augmented her breasts.) Over the last 30 years, Ms. Greenfield has become America’s foremost visual chronicler of the plutocracy, and those who hope to join its ranks. Her ultra-saturated, up-close, unsparing images have appeared in the pages of The New York Times Magazine, GQ and The New Yorker, as well as museum exhibitions and theatrical documentaries. Ms. Greenfield’s lens has fallen on affluent teens playing hooky, rappers and the strippers they shower $100 bills on, investors in exile, hedge-funders in denial, Iceland’s teetering banking system, abandoned mansions in Dubai and countless other icons of the world’s mounting financial inequality. (Story continued in comments)
Check out Janette Beckman’s latest interview in this week’s Creative Review: CREATIVE REVIEW, London, July 23, 2018 Q&A: Janette Beckman on photographing the early days of hip-hop As a part of music week on CR, we speak to photographer Janette Beckman about making album art for the likes of Salt-N-Pepa, LL Cool J and other iconic hip-hop artists in the 80s By Salonee Gadgil 23/07/2018 9:31 am Even if you aren’t a huge hip-hop fan, images made by Janette Beckman have probably made their way into your consciousness and in some way informed your opinion about the music genre. Beckman worked as a photographer in New York in the 1980s and 90s, making portraits and album art for the likes of Salt-N-Pepa, LL Cool J, Queen Latifah, Flavor Flav and Chuck D. While this body of work by no means represents the breadth of her creative output, it is celebrated for its role in documenting the rise of hip-hop and immortalising many a hip-hop legend. Beckman, along with a group of photographers including David Corio, Sue Kwon, B+, Chi Modu and Ricky Flores, are credited with shaping the visual language of hip-hop as we know it today. We spoke to the British photographer about what drew her to hip-hop, what it was like to move to and work in New York in 80s, and why hip-hop stars today aren’t like they used to be. Creative Review: How and when did you start photographing hip-hop? Do you remember your first encounter with the genre? JB: I was shooting for magazines like The Face, back in London in the 70s / early 80s and I got to photograph almost everyone in the punk scene, everyone from Boy George to The Police. You name them, and I probably have a picture of them from that era. (Interview continued in comments...). @janettephoto @creativereview #hiphop #photography #fineartphotography #fkg #faheykleingallery #availableatfkg