Gjon Mili - some notes and links

I am sitting here writing this listening to Takako Nishizaki wonderful piece of music called Street Musician and doing some basic background research on Gjon Mili - a wonderful way to spend an evening.  Anyway, this post will contain links and notes on Mili and if all goes well will no doubt form part of my next assignment.

New York Times - 18th November 1994

Charles Hagan

'From the 1930's to the 50's, Gjon Mili was one of the star photographers of Life magazine, specializing in pictures that used stroboscopic flash to freeze action. Mili became famous for his distinctive photographs of sports stars, dancers and the like, all captured while leaping or twirling, turned by the strobe into chiseled statues....'

Wikipedia Entry

'Born to Vasil Mili and his mother Viktori Cekani, came to the United States in 1923. Fifteen years later he was photographing for LIFE magazine (a relationship that continued until his death in 1984), and his assignments took him to the Riviera (Picasso); to Prades, France (Pablo Casals in exile); to Israel (Adolf Eichmann in captivity); to Florence, Athens, Dublin, Berlin, Venice, Rome, and Hollywood to photograph celebrities and artists, sports events, and concerts, and. sculptures and architecture.

Working with Harold Eugene Edgerton of MIT, Gjon Mili was a pioneer since the 1930s in the use of photoflash to capture a sequence of actions in one photograph. Trained as an engineer and self-taught in photography, Gjon Mili was the first to use electronic flash and stroboscopic light to create photographs that had more than scientific interest. Since the late 1930s, his pictures of dance, athletics, and musical and theatrical performances have astonished and delighted millions of viewers, revealing the beautiful intricacy and graceful flow of movement too rapid or too complex for the eye to discern. His portraits of artists, musicians, and other notables are less visually spectacular, but equally masterful....'

The Winger - blog

Interesting collection of images of the New York ballet made by Mili for Life Magazine.

Getty Images

8000+ images of Mili's

IMDB

Lists the few films that Mili was involved in

Flickr

Search for Gjon Mili - produced some interesting interpretations of Mili's work and also copies of some of his work for Like magazine.

J. Thompson's interpretations of Mili's work - mainly painting with light

Gregory Crewdson

What can I say?   I am on the trail of this photographer - if that is what he is now - and the more I look the less I like.   I thought about this in the shower this morning, the place I always think about things, and the latest idea I have about Crewdson is that he somehow symbolizes big business America.   The analogy that I am currently working on is that of George Lucas and the latest Star wars movies ( Episodes I - III) .    Here you have visually stunning imagery and digital excellence with no real heart or substance.   You find the imagery breath taking at first glance and then realise that there is no soul or story other than a weak attempt to stitch a story together that enables another magnificent set piece of digital cinematography to explode on the screen.   In the end this becomes the only reason to watch the movie and really this is just not enough.

The same can be said for Crewdson.   His images are breathtaking in their application and technique.  However, once you scratch the surface you realise that there is nothing there at all.  The soul has been bleached away by corporate approach to photography.   perhaps the best way to look at this is that in his later works Crewdson not only had director's of photography and camera operators.   It no doubt was his vision but this remoteness to the process meant that ultimately the soul is missing.

I really wonder what I will think tomorrow?  It is a fascinating exercise to examine an artists ( I no longer think of Crewsdon as a photographer) and try and work out why his work does not do it for you.   A Ho....now off to lectures.

Gregory Crewdson - I'm not sure

Gregory Crewdson, Untitled from the series 'Twilight', 2001, © Gregory Crewdson

As part of the MA course I am taking I am examining the work of Crewdson.  In many ways his work is fascinating - the use of high production value cinematography techniques to produce ambiguous images is challenging and at the same thought provoking.   The images are almost a dreamlike world, perhaps a nightmare of frozen moments taken out of their normal reality and placed before you for you to dissect.   This, of course, is where my problems start with Crewdson.  Firstly, there is his method of production.  He does not actually take the photograph but rather directs the whole process.    This leads to the question - is he a photographer?   I am still grappling with that one and have no firm answer yet.   If he was producing a movie then he would be a director/producer but not the cinematographer.  Does this mean he cannot be the photographer?   I do wish I had answer to that.  Still this is the beauty of thinking about images and trying to work out what they say to you.

The second point which really is the more important of the two points is this - do I like the photographs?   At one level it is hard not to admire the images produced.   They are works of great craft and precision.   They are produced by a whole team of technicians coming together in way that is a marvel of organisation and creative endeavor.   But this is also where the images, for me, tend to die.   They are beautiful in their creation but remain too much of a pastiche of other works.  Perhaps the best way is to compare Crewdson's work with Edward Hopper, a painter he openly admits as one of his main inspirations.  Hopper's world is a dark and less well defined one when compared to Crewdson's clinical preparation.  The mood of Hopper's work is ambiguous in a way that Crewdson's is blatant.   Perhaps this is the difference between a painting and a photograph.  A photograph always implies a clinical record of events, even as in the case of Crewdson, the events are a pure fantasy - the product of the marvelous control he has over the creative process.   The photograph always implies it records the truth.  After all ' the camera never lies'.   Any photographer knows that this is not true and the only truth that a camera records is that that photographer wishes it to do, no more no less.

I guess the only way to end this ramble is to say that I am still not sure about Crewdson.   However, the journey to find out is what the course is all about.   Here endth the rant.

In search of the iconic

Is this an iconic image?

Paul Fusco - Magnum Photos

What is an iconic photograph?   I am not sure - are you?   I have spent the afternoon looking at imagery from around the world to try and come up with some guidance but all I have succeeded in doing was muddying the water.   However, I think that this actually may be a good thing as this is the start of the process and if I knew now what is an iconic image then the journey would not be worth taking.

Why am I concerned with this.  Well its my friend the MA essay.  I am comparing two very iconic images - well I think they are iconic (and so do most people if I am honest)  but that does not answer the question as to what is iconic?

I have done some very simple research and this would seem to leave more answers than questions.   The good thing about this quest is that I can spend time looking at some of the great images of all time.  I am surrounded by books full of magnum photographers, the best sports photographers and other unimpeachable photographers.   The initial litrature search has been inconlusive but to be truthful I haven't really tried to find any really useful text books yet. That joy is to come.

So what is iconic?   I would love to hear your views.

The Hard Work Begins

As with all my other colleagues I am now immersing myself in the research for the first essay for the MA course.   I have to say this is an absorbing activity.  However, the knock on effect has been that I am no longer paying as much attention to my own photography as, perhaps, I should.   This is not a unique problem.  David Manley on his blog as eluded to the same issues.   Trying to mix work with study is never easy.  I know this from personal experience when completing my degree with the OU.  I still have a second degree course started with the OU and I doubt this will ever be completed as my life has moved in new directions.  It is hard.

Now the good point for me is that I have recently retired and so have the luxury of being able to commit myself to the course full time.  I also live reasonably close to the university so can pop in to the library at short notice as and when required.   This is not the case for most of my colleagues, although some do work at the DMU but I am sure their day jobs get in the way.  I am not sure what this prattle is saying other than the course demands hard work and having to keep down a job at the same time adds to the pressures.

Back to the images.  I am not sure whether this is just the time of year/age or the course having an effect but I have noticed that I am starting to look at my photographs differently.   It is far too early to quantify this in any meaningful way but it is something that I feel is happening.  I will have to watch this otherwise I will start to be looking at photographs with the intensity and eloquence of Greg Lucas!

Norman Rockwell and Edward Hopper

Interesting morning trawling through their collective works. Both have given me insight into the work Winston Link and my other photograph by Neil Liefer. They are intended to examine the concept of the American iconic image. Of the two I have to say I prefer Hopper. His dark brooding images and use of heavy colours really does appeal to me. He was loathed to produce paintings with the detail of Rockwell.

Rockwell on the other hand just couldn't help himself produce a happy painting or print. Even when he was dealing with the civil rights movement, a subject he was passionate about, the subsequent image still has the candyfloss effect (see Southern Justice).

Anyway a good morning in the library - having feed my imagination it is now time to feed by stomach.

O Winston Link and Kite Surfing

(O Winston Link Museum - Property - Do not reuse)

O Winston Link

This man is starting to become imbedded into my psyche at the moment.   He is the photographer that I am researching for my first essay.   Yesterday I spent all the day chasing down facts about the man and his photography.   This was mainly successful - see 21st October blog for details.   Today I am back on his trail.   I will try and find the book previously mentioned but I will also start to research the similarities between Link's images and Norman Rockwell.

On a lighter note I have finally started to work on the kitesurfing  (apologies to kite surfers who I mistakenly called Wind Boarding.   What can I say I got it wrong - sorry.)   I have just posted a new intro image of a kitesurfer on my website.  Over the next few days I hope to develop a new gallery around this fascinating sport.  That is if O Winston Link does not get in the way.   Oh the joys of university life!

Frustration of missing book

The Missing Book

I've spent most of the day getting my research in some semblance of order.   After some initial miss steps I found this really quite useful.   I actually learnt a lot as a result of the process.   Anyway, as a result of this I identified that it would be useful to read/view a book.  I searched the DMU library catalogue and found that there was one copy in the library.  Great.  So I drove into town and went to the library.    You can imagine my surprise and frustration when I found the book was not on the shelf  (That's a polite way of putting it!)   Anyway, I decide to carry out some ancillary research about Edward Hopper and ended up with quite a bit of information and perhaps more importantly a better understanding of what I want to write about.

There are many things that could be written about Hopper's work but the one that really struck me was that much of his work was actually a record of the passage of time as shown on the features of his wife Jo.   Now I am sure this is not an original observation but none the less it was a very vivid revelation for me.   Only four weeks into the MA in photography and I am starting to think like an art historian - not sure whether that's such a good thing.

Another bonus from the trip to library was that I had at least two new ideas for projects/themes I could explore as the course develops.  It will be fun exploring these and many other ideas (both good and bad over the coming months)    Now if I could only find that book...

Back to the grind stone

After a week end spent taking or is that making photographs? I have the fun of having to get back to the research for the MA course.   Actually it is really quite interesting but just now it seems like hard work - especially as there is a beautiful sunrise outside just calling to me to get out and capture it.   Oh the hardship!