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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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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Details »

AFRICAN PHOTOGRAPHERS: Invisible Borders: The Trans-African Project

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AFRICAN PHOTOGRAPHERS: Namsa Leuba

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