Post 6: Bruce Davidson (Gabriel Kammer)

Bruce Davidson is an American photographer known for photographing people and communities that tended not to be represented elsewhere. Some of his most famous works were taken in New York City, specifically Harlem, of people who might be considered dangerous. Today, he is 86 and is still having exhibitions and things.

I was surprised to learn that Davidson had started so early in life with photography. As a teenager, he already took and developed photographs, and had a darkroom in his basement. He also works very hard; his schedule is often packed to the point where he gets up before the sun in order to get the lighting that he wants. He clearly has a deep connection with his photography: he says, “you have to feel some pressure, something that you need to find, something that’s calling you” in order to get into the right state of mind to take photos.

I also admire that he seems to have a deep connection with his subjects. He described how he’s gone back and visited the people that he had photographed much earlier and caught up with them to see how they are doing now. When asked further, he gave a response that I appreciate. “It’s about trying to be a human being,” he says. He also talks about a particular Egyptian family that he often sees and buys coffee from, but hasn’t “taken the photographs. Yet”. It is obvious that his craft goes beyond simply creating images; it’s also about understanding the subjects and interacting with them like a human.

Discussion Questions:

1. If Davidson had taken the types of photographs that he took in the 50s today, would they have had the same success? How has photography changed since his time?
2. Does a camera today still give you permission to get close to someone and have a connection, even when everyone has cameras on their phones?

Addie Blogpost #7 – Reflection on Ray and Moholy-Nagy

It took me a little bit more time to understand both pieces this week, despite their brevity, but I think that the messages that both Ray and Moholy-Nagy attempt to share are still very important. The philosophical manner of the pieces lent a more serious tone as both authors tried to understand photography’s place in the world. Moholy-Nagy took an almost clinical approach in looking at several aspects and even identifying the eight variates of photographic vision, while Ray looks towards the purpose of photography and how the capturing of the spirit of an experience is so critical to the essence of photography.

One thing that I really fixated on was the idea that a painter or a photographer needs to hold a “certain amount of contempt for the material” in order to create the purest realization of the idea. I found this line to be especially difficult to grapple with, unsure if I should interpret it as meaning an artist should be willing to “deform the subject” and create a new form entirely, which requires a certain measure of disrespect for the medium. Either way, I think the concept is relatively unique compared to a lot of the works that we’ve read throughout the semester, and in general, I found Ray’s writing to be more critical than other writings. Despite being a bit more critical, I did agree with some of the ideas he presented, including the idea that the “emotion of the human individual becomes universal,” making race and class less important in the face of the universal human experience.

In contrast, I found the Moholy-Nagy piece more positive, talking about how photography disrupts our impression of art and how to think of it. I liked his ideas a lot and I was impressed when I realized that he was a pioneer in the medium, writing about the “place of photography” despite how novel the technology was. It makes me wonder how revolutionary photography was at the time and it’s hard to imagine something equally as disruptive in the art realm today (i.e. trying to predict the next frontier).

Discussion Questions:

1. Both authors make allusions to the similarities between realistic painting and photography? What do you think formally distinguishes the two? Is the distinction important?
2. Do you agree with the common denominator of “isms” that Moholy-Nagy describes in the beginning of the text? If not, what do you think is the universal character of optical expression?

Simone Blogpost #6: Bruce Davidson

Bruce Davidson is an American photographer, most famous for his photos taken in Harlem, documenting life. I loved reading the Charlotte Cotton interview with him because I like understanding that these famous photographers are normal people who also admire other photographers. I’ve noticed some common personality traits between the interviews and films we’ve watched about different photographers, mostly being that every photographer absolutely loves their artform. I haven’t read many other interviews where the artist/creator so clearly expresses their love for the artform as photographers. For example, the closet darkrooms Davidson so lovingly talks about could only be perceived by someone who is crazy about photography.

I thought it was cool to look at some of his photos and then read the interviews

because you can see some of the more abstract themes he talks about in a very literal context. I am attaching some of my favorite images.

Discussion Questions:

1. How did photographs spread and “go viral” in the days before social media?
2. Do photographers have a duty to care about the subjects of their pictures?

Blogpost #6: Bruce Davidson

Bruce Davidson is a photographer most widely known for capturing the lives of people in communities not often seen in media and journalism. In his interview with Charlotte Cotton, Davidson discusses his experience with photography and his relationships with his subjects. Davidson began exploring photography at a very young age, with the unique opportunity to work with a nice camera because of his stepfather’s job. He is well known for his photographs that show a side of people that is not often seen. For instance, when shooting the Yale football team, Davidson chose to photograph the behind-the-scenes, the players on the bench, and the times of rest, instead of photographing the main event, the football game itself.

Davidson also seems much more connected to the subjects of his photos and I found it really interesting that he often follows up with his former subjects and goes back to previous locations that he has shot in. Because of his special relationship with his subjects, Davidson is able to capture photographs that tell a story about their interaction. He focuses so much more on the content and subjects of his photographs, yet they are still aesthetically stunning and clearly the product of technical expertise.

Dicussion questions:

1. Does un-identifying as a photographer make someone more approachable to strangers when asking to take their picture?
2. What are some similarities and differences between Eugene Smith’s and Bruce Davidson’s photographs? Where can you see the inspiration from Smith in Davidson’s work?

Blog Post #6: Bruce Davidson Reflection (Mariam)

Working out of closet darkrooms, across different cities, and into his 80s, Bruce Davidson is clearly someone who has had one true passion in his life and is very dedicated to it.

One thing I noticed in a lot of his photos there is always an action or motion going on. It gives off the impression of really being in the moment but not impacting that moment. It makes me wonder what do the photos look like that didn’t end up making it to print – is it blurry? are some people less comfortable than the ones showcased? One thing mentioned in the interview is how he looks up to Eugene Smith. I appreciate that we’re being able to compare the styles and interpretations of major photographers, learning both from their physical work and their vocalized perspectives.

Something else that I appreciated was how Davidson tried and is trying to return to his subjects and see where they are now. I think that comparison would be a very interesting photo serie.

Discussion Questions:

1. How do you get over feelings of personal discomfort/feeling intrusive when you want to photograph a scene? Is anyone else dealing with this?
2. How often do you revisit old photos in day to day life? Do you feel like we take so many photos now with iPhones that the nostalgic value of each is minimized?

blogpost #6 // talia

In researching Bruce Davidson’s work and reading his interview by Charlotte Cotton, I enjoyed that he thought deeply about the subjects and settings he photographed. His discussion of this, saying, “It’s a growing realization that maybe a photograph doesn’t end there,” reminded me of our earlier discussion in class of photographs as icons.

I also enjoyed Davidson’s discussion of inspiration–both in what it means to be inspired by others, and in which photographers he looked up to. I found it exciting when Davidson remarked that his hero was Eugene Smith, since we just read about him last week. He remarked that seeing others’ work “really sent [him] in that direction– not imitating, but finding the way I wanted to photograph.” I really like that we are doing these case studies because they give me an opportunity to pore over the works of revolutionary photographers; I am learning to understand why these photographers make certain choices in order to convey their message.

In reading Davidson’s interview, I found myself wondering many of the same things as I had throughout the course–namely, how these well-established photographers were able to take the photos that they wanted, and whether this would still be possible today. This past Tuesday was Super Tuesday, and I was carrying my camera with me when I went to vote in the Massachusetts presidential primary. I was only in the polling place for less than 10 minutes in total, did not intend to take any photos, and yet two different people approached me and told me that it was a federal crime to take photographs there. I know that people feel threatened by the camera (I often do too), but it was jarring to feel like I was seen as threatening because of the camera I was wearing. It is interesting to read about how photographers like Davidson put their subjects at ease, but I wonder how successful they would be in today’s climate.

Question:

• How do you handle situations where people feel threatened (or other negative feelings) because of the camera?
• How did photographers like Davidson and Smith put their subject at ease and make them feel comfortable and safe behind the camera? How would these tactics translate to today’s climate?

Blogpost #6: Reflection on Bruce Davidson

From my research, Bruce Davidson is a documentary photographer famous for capturing places and people that are not often seen. For example, his photos in Harlem are well known for showing viewers life in a place that they consider foreign and dangerous. Similarly, his photos of the Yale football players capture emotions and real people that cannot be seen from the well-lit stadium. I like his ability to capture people’s momentary expressions and feelings in a photograph. This is especially impressive given the fact that it takes me ~5 minutes to set up a photo with someone in it (focusing, lighting), and by then their expression has grown tired.

A few things stood out to me from the interview, including Davidson’s passion from a young age. His precocious interest in photography is interesting and incomprehensible to me as someone who feels far from figuring out her own interests. I am also in awe of Davidson’s focus on content rather than on the art of photography. In particular, this quote about him in a MoMA press release struck me: “few contemporary photographers give us their observation so unembellished — so free of apparent craft or artifice — as does Bruce Davidson. In his work, formal and technical concerns remain below the surface, all but invisible.” In his interview, it is clear that he does not obsess over technical details of lighting or composition. Still, his photographs are both aesthetically beautiful and interesting.

Another pattern that has stuck out to me is that the famous photographers we have studied seem to all be outsiders in the context that they photograph in. Lewis Hine wasn’t impoverished like the children he photographed. Davidson was likely an outsider in Harlem as much as the next white man. I wonder if we will get to study photographers who document political issues with a more personal take in the modern era. 

Discussion Questions:

1. How do you think the work of Davidson compares to that of Eugene Smith (who we looked at earlier?
2. What is a subject you would like to photograph over time, or think would be interesting to return to years later?

Martin Winton Blog #6

Bruce Davidson is a phtographer working for the Magnum Photos agency. His most notable photos are those taken in Harlem, NYC during the civil rights movement. Davidson, now 86, has been taking photos ever since he was a child. While other children were in in the streets playing kickball, he was playing with the intermachinations of his mind, with a camera as his tool.

Being whisked from town to town as his mother continued to remarry may seem like an arduous endeavor, but to Davidson it was an wonderous adventure, an opportunity to explore the world through a lens. Davidson’s goal was to never take the obvious shot but to instead pull back the curtain, revealing what lies underneath. Sometimes this process involves revealing people at their worst; the atrocities witnessed during the civil rights movement were at times darker than the closets that Davidson developed his shots. Despite the dangers that these situations presented, Davidson continued to place himself at risk in order to show the world that one’s background should not hinder their ability to express themselves. In Davidson’s case, he expressed himself through his photos.

Questions

1. How are Davidson’s use of closet darkrooms reflected in his photography? Are there any signals in his photos that reflect his makeshift process?

Blog Post #6

Bruce Davidson is an American photographer best known for his work in capturing social inequality. His photos predominantly feature people in their natural state and environments.

Charlotte Cotton’s interview with Davidson was an insightful glimpse into his childhood; it was interesting to learn more about the scrappy way he got started in photography. Photography isn’t the most accessible hobby to have because equipment and materials are extremely expensive, even today; it was inspiring to hear about how Davidson was still able to make photography a central part of his life, despite not being particularly well off, by using his closet as a makeshift darkroom, working at the photo store, and forging friendships with photographers (who were also able to serve as mentors).

Visually, his images are stunning: the high contrast of his photos, particularly ones featuring people, really appealed to me. A combination of the lighting and focus of his images bring out distinctive moods and tensions, and I think the different ways he’s able to capture movement and stillness speaks volumes about his skill as not only a photographer, but also as an observer and artist.

Discussion Questions:

1. What initially piqued your interest in photography?
2. Is it easier to develop a connection and get close to strangers with or without a camera?
3. What city do you personally think would be the most interesting to photograph?

Blogpost #5: America and Lewis Hine

In the documentary about photographer Lewis Hine, I found it really interesting how Hine was able to make his subjects really trust him and open up, allowing him to take natural and authentic photographs. I also thought it was remarkable that he decided to fully dedicate his life to social justice photography after what he had experienced. Hine’s photographs brought the issue of child labor to light and were compelling enough to bring about real change in America.

I couldn’t help but think that what Hine was able to do in his time would not have as much of an impact in today’s society and media. Photoshop and other photo editing software are fairly accessible to anyone with a computer, and these software are used increasingly often to enhance and modify images. People would probably be less inclined to believe that the photos are real and they could possibly be considered “fake news”, especially if they depict something that people don’t want to believe.