W. Eugene Smith’s The Jazz Loft Project

Lets face it; when it comes to photojournalism and the photoraphers who most defined its characteristics, attitudes, aspirations, values and language, we would almost always have to begin with W. Eugene Smith. The master photographer, the passionate soul, the determinedly individual and independent, the singularly human, Eugene Smith raised the bar of not only how one worked as a photographer, but also how one ‘drew’ a photograph onto film.

Who can ever forget the beauty of Tomoko Uemura in her bath, and the genius of the photographer who found a way to represent it:

Tomoko Uemura in Her Bath Minamata, 1972 Copyright W. Eugene Smith

Tomoko Uemura in Her Bath Minamata, 1972 Copyright W. Eugene Smith

I do not exaggerate when I saw that this was the photograph that back in 1986 first made me think about becoming a photographer. It has remained etched in my mind and soul since.

So it was with some excitement and pleasure that I discovered Sam Stephenson,of Duke University’s Center for Documentary Studies, website for his book The Jazz Loft Project

The Jazz Loft Project

The Jazz Loft Project

Stephenson describe’s Smith’s production of this work as ‘…an obsessive achievement’, but clearly, by his own definition, Stephenson too was obsessed for he points out that he:

…made 115 trips to New York City over a span of time that can be measured by telephones and storefronts: I called Robert Frank from a cold, indestructible pay phone at the end of Bleecker, near CBGB; Roy Haynes on a Motorola StarTAC from a brownstone on 9th Street, a few doors from Balducci’s; and, a few weeks ago, Mary Frank on my iPhone from Spoon in Chelsea.

You can read Stephenson’s piece in the new issue of The Paris Review blog where in a piece called The Jazz Loft Project he discussed Eugene Smith’s involvement in this project and the characters and lives that he documented.

This is a wonderfully interesting site, and it is a thrill to see the love, care, attention and detail that has been bestowed on the work of W. Eugene Smith. Stephenson’s inquiries into the life and career of this most amazing of photographers continues as he works on a new biography that will also see him:

… embark on a five-week visit to the Pacific Islands, where Smith made combat photographs during World War II, and to Japan, where he photographed Hitachi City in the early sixties and Minamata a decade later. There are some fifty more people I want to interview as well. The detective work is intoxicating, opening up unexpected worlds outside of Smith’s immediate circle.

W. Eugene Smith was frequently derided in his times, ignored by editors and even fired from his positions at major magazines. But he worked past all of this through the strength of his vision, convictions and self-confidence. His work and his legacy has stood the test of time and remains an inspiration to so many still naively determined to produced beautiful works about beautiful and human issues.

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The Lure Of The Ephemeral

A few friends and fellow photographers have stepped away from Instagram and other social media platforms for their work. In fact, I too have not posted on any social media platform for a while because of a nagging sense that by constantly feeding a structure of information dissemination that relied on the ‘likes’ of random strangers (a large number of whom seem to be prepubescent or barely adolescent boys and girls), i was being dragged away from a more considered, and measured way of working. There was this realization that at some point feeding the beast become more important than patiently producing the work, and that any and all measure of its success and its relevance becomes reduced to ‘# of followers’ or ‘likes’. In fact, I remember distinctly a couple of major editors criticizing my work in Pakistan for not being ‘accessible’ enough, and for being too difficult. They were concerned that I had no ‘social media’ strategy, and wondered what I was going to do to bring tens of thousands of followers to my site. The fact was that I wasn’t really even interested in that. In fact, there is a distinct intent in my works to be difficult, and demanding. I design these projects to be hard to view, and engage with. They are never meant for a vast audience, and I can’t even see the value of the audience of ‘social media’ that I am being told I need to pursue. Details »

The Easy Beauty Of The Unpolitical, The Effective Seduction Of The Obfuscatory

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Waiting For An American Knight In Liberal Armor

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Farahnaz Ispahani and Nina Shea try to speak about Pakistan, but get it entirely wrong. Their blinkered history, their a-historical depiction of the genuine problem that they identify is sad and embarrassing to read. And nothing was more embarrassing to read than their conclusion that states:

The United States should make an unapologetic defense of free speech in every appropriate forum and work to roll back this subversive secular law. We should lend moral support to the majority of Pakistanis who are struggling to retain a semblance of a democratic and pluralist society and peace in the region. To the world’s detriment, the administration underestimated the Islamic State. The damage will be all the greater if we continue to ignore the danger from Pakistan’s blasphemy law.

Instead of tearing this gibberish, hypocritical, ahistorical and frankly completely nonsensical suggestion that somehow the USA is a voice for free speech, or worst, not implicated in the religious madness that has infected Pakistan through its repeated and decades long support for every fanatical dictator that ever spit on the country, let me quote Eqbal Ahmed instead to reveal the true nature of America’s hand in Pakistan:

There is an increasingly perceptible gap between our need for social transformation and America’s insistence on stability, between our impatience for change and American’s obsession with order, our move towards revolution and America’s belief in the plausibility of achieving reforms under the robber barons of the ‘third world’, our longing for absolute national sovereignty and America’s preference for pliable allies, our desires to see our national soil free of foreign occupation and America’s alleged need for military bases.

(Eqbal Ahmed in a dialogue with Samuel Huntington, from No More Vietnams: War and the Future of American Policy) Details »

AFRICAN PHOTOGRAPHERS: Hassan Hajjaj

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AFRICAN PHOTOGRAPHERS: VIvian Sassen

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AFRICAN PHOTOGRAPHERS: Alexia Webster

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AFRICAN PHOTOGRAPHERS: Santo Mofokeng

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AFRICAN PHOTOGRAPHERS: Daniel Naude

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AFRICAN PHOTOGRAPHERS: Nyaba Leon Ouedraogo

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AFRICAN PHOTOGRAPHERS: Nii Obodia

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