Scout Tufankjian

From the Obama Campaign, 2008. Photo by Scout Tufankjian.

I had meant to write about the photographer Scout Tufankjian a while ago after seeing her interviewed on CNN. Scout is a New York based photojournalist who I feel produced some of the best coverage of the Obama campaign. While we have never met, she particularly endeared herself to me when she publicly acknowledged the influence of Paul Fusco’s RFK Funeral Train pictures on some similar pictures she had taken. But as you’ll see on her website, which generously shares hundreds of pictures, she’s got an eye of her own and the skill to capture the moment over and over again.

I was looking at her website recently and came across this wonderful picture of a young Obama supporter – a great photograph on its own, but a remarkable echo of Alfred Eisenstadt’s famous shot from 1963 of children at a puppet theater in Paris. Entirely accidental, of course, which is the only kind of photo echo worth noting.

Children Watching St. George Slay the Dragon at the Puppet Theater in the Tuileries, Paris, 1963. Photo by Alfred Eisenstaedt.

I'm posting quite a few of my favorite pictures below, but do take the time to visit Scout’s website to see more pictures. I can guarantee you it’s worth it. (For those still interested in the tilt-shift debate, I have a feeling some post-production was done on some of the pictures to focus the eye on what the photographer is interested in you seeing clearly, but I think this was done well and effectively.)

There are no specific captions on Scout's website, but the pictures descend chronologically from Iowa to Inauguration.

Reader Comments

A post to acknowledge and answer some of your comments.

First, a thank you to Christopher Paquette for sending this Lego version of the Van Ess Saigon evacuation picture (above).

The Church at Rancho de Taos post received a strong reader response. Adams was the clear winner, followed by Strand. I think this was a smart consensus. I also received the picture below from Christopher Marquez at the Andrew Smith Gallery in Santa Fe. Can you guess who it’s by? Answer at the bottom.

A reader named James asked if I had any opinion on tilt shift photography. I like it a lot when done skillfully. Miklos Gaal, Vincent Laforet, and Olivo Barbieri (see below) seem to be among the best practitioners largely because it seems integral to their vision. But when it’s just a gimmick to try and improve an otherwise dull picture it seems gratuitous.

Miklos Gaal

Vincent Laforet

Olivo Barberi

PRICING PHOTOGRAPHS

There was also a request for some helpful advice on how to price photographs. Here’s how I do it. Gather all relevant information. Is there any past pricing to go by? Does it seem right, high, or low? If there’s no direct relevant information look for something similar or equivalent. Is the picture a large scale small edition print or a small scale open edition print? What is the cost of production?

Are you selling directly or through or a dealer. I would say that a reasonably made print of a good image by a serious photographer shouldn’t go for less than $500. The current record for a contemporary piece is in the seven figures but that’s a limited edition print, a signature piece, by a renowned artist. (We’re talking the Prince, Struth, Gursky class here.) So there’s a big range. Depending on your personal philosophy (and financial situation), you can decide whether to err on the side of underpricing or overpricing – but if you trust your gut you’ll probably come up with the right price. The one piece of pricing advice I always give to photographers is: don’t be afraid to sell out an edition. First, it rarely happens. Secondly, if it does you’re a success! Thirdly, you should always have your artist’s proof. And lastly, if you’re any good, there should always be more sale-worthy images in the pipeline.

MORE TAOS

A good response from readers sending in their own Taos photographs:

Here and below - two ironic views taken by Robert Wright showing how it is today.

This from "The Cool Sisters".

David Gardner focused on a side door.

Mark Harmel found a nice play of shadow and form.

And lastly, the Church at Taos surprise answer:

Weekend Video

Over a year ago, rumors began to circulate that the $75 million dollar film of “Where The Wild Things Are” was in trouble. Directed by Spike Jonze, with a script by Dave Eggers, monsters from the Jim Henson company, and music by Karen O (of the Yeah Yeah Yeah’s), the film adaptation of the Maurice Sendak children’s classic had intriguing creative/hipster potential. But the word was that it too dark and scary and the actor playing the mischievous Max had failed to impress the brass at Warner Brothers. Test screenings were reputedly disastrous.

It’s now slated for an October 2009 release, but if the above trailer is anything to go by, it certainly looks visually impressive. I’m keeping my fingers crossed.

Fairey Update

I don’t know if anyone is dying for a Shepard Fairey update but here’s the latest.

Because of my involvement with the Fairey/Garcia/AP case, I have now been served a subpoena by Fairey’s lawyers and will shortly be deposed. This means gathering every piece of paper relating to any of the above and then being questioned and recorded under oath. No big deal, just a pain.

By coincidence, I happened to be in Boston today and thought I should visit Shep’s show at the ICA. As I have always maintained, I’m actually a fan of Fairey’s work (just not his image “borrowing”) and it’s an amazing show. Beautifully and thoughtfully conceived and installed and full of good work. If you’re anywhere nearby go and see it.

As many of you know I enjoy taking pictures in museums and it always seems silly to me to not allow photography. At this show, however, the young guards were trained with what seemed like military precision - always on the move, crossing from one gallery to another in a way that never left a room unguarded. It was eerie and ironic. But not quite as hypocritical as the sign that greets you as you’re about to enter the show requesting “Please no photography in galleries”!

So in true guerilla spirit, I had to snap at least one with my iPhone:

If all this wasn’t enough, last week I got an e-mail from the film-maker and journalist, Edward Nachtrieb. As Nachtreib explained:

Exactly 20 years ago I took this picture of an armed Chinese soldier at the onset of martial law in Beijing. That same image, with no attachment to its original context or how it fits into the Chinese story, was appropriated by artist Shepard Fairy (of the Obama "Hope Poster" fame).

Beijing residents, using busses and their bodies, had blocked a convoy of soldiers attempting to enter the city. This was the first appearance of lethal weapons on the streets and was a precursor of what was to come on June 4. I'm sure the reality of the picture is not relevant to the artist...but I find that disturbing. Images stripped of their context but retaining strong emotional elements are hallmarks of fascist and Soviet propaganda styles - an acknowledged inspiration for this artist. In this case, I think a lack of accurate context for the image drains it of meaning. It's also dishonest. I suggest that Mr Fairey credit those whose materials he uses to "inspire" him. The truth of things might help enhance the depth of how his work is perceived and actually make it more interesting to contemplate and not just cool to look at.

Inside Fairey’s ICA show, one of the wall texts proudly quotes Warhol saying “Art is anything you can get away with.” This is one of many things the court will have to decide in the Fairey/AP case.

Summer Reading

When people ask me what they need to do to understand the world of fine art photography, I tell them: go to galleries, preview auctions, and read the photography criticism in The New York Times. The Times suggestion was in large part because of the timely, eloquent, and provocative writing of Philip Gefter, the picture editor and photography writer for the paper’s Arts & Leisure section. Gefter has now left the paper although he continues to contribute as a freelance and you’ll now see his byline in other publications. But the good news is that Aperture have gathered 39 of his pieces in one volume that no-one interested in photography should be without.

As you can see from the above illustration, it has a great cover featuring Ryan McGinley’s “Dakota Hair” from 2004. From there, much like the picture, it’s an exhilarating and breezy journey though modern photography. Stephen Shore is “Walker Evans – stoned”! On Richard Misrach “Don’t let the beauty of Richard Misrach fool you. … What lies beneath the surface is more to the point.” And from an essay on Vince Aletti’s magazine collection, “One Saturday afternoon, I accompanied Vince on his rounds and, after nine galleries, with flagging energy I begged off. But Vince was not finished for the day. He is dogged apparently insatiable in his quest to know what’s out there, to see what artists are doing. I have come to understand that his commitment to looking at art stems from the same impulse to collect: know thy culture, know thyself.”

Now that's summer reading!

P.S.
Buy here and you'll not only get it at a good price, you'll help support Aperture, one of the best not-for-profit photography organizations.

Spirit West

The Church of St. Francis of Assisi. Taos, New Mexico. Photograph by Ansel Adams. 1929.

The Church of St. Francis of Assisi in Taos, New Mexico, completed around 1815, is relatively well known as the subject and inspiration for many artists and photographers, most famously Georgia O’Keeffe and Ansel Adams. It has also long been my favorite building in the world - perfect both as a piece of sculpture and a spiritual symbol. I thought of it recently as I drove by the carved form of Frank Gehry’s IAC building on the Westside Highway.

I was introduced to the church through photographs, but when I first traveled to New Mexico, originally to meet with Eliot Porter in Santa Fe, I went out of my way to visit it. The thing that immediately strikes you about the church is the handmade adobe construction which creates the feeling that it has emerged from some giant potter’s studio. However, if you walk around it today you will be disheartened to find that power lines and encroaching buildings make it impossible to recreate the famous shots of the 1930s. But the fact that those images are not infinitely reproducible has made them all the more special.

Three images in particular have stood the test of time in my own mental image bank – the Adams, a Laura Gilpin, and a Paul Strand. Each, surprisingly, found different angles of what is actually the back view of the church and it’s uncharacteristically difficult for me to pick a favorite of the three. What do you think?

And if any readers have taken their own favorite picture of the church, please e-mail to: jd@danzigerprojects.com.

The Church of St. Francis of Assisi. Taos, New Mexico. Photograph by Laura Gilpin. 1938.

The Church of St. Francis of Assisi. Taos, New Mexico. Photograph by Paul Strand. 1932.

Weekend Video

With two #1 hit singles, a platinum album and a talent and persona that have made her pop’s new princess, Lady Gaga appears to have come out of nowhere to grab the zeitgeist of the moment. (For the full backstory click here.)

One clear indication of this is the number of Lady Gaga tributes on YouTube - and having not done this for a while, I felt it was past time to do another of our tribute round-ups. This time to Gaga’s 2nd hit “Poker Face”.

Comments, please, on the one you like best! (Not counting the original above.)

And last, if you're not completely sick of the song, a highly alternate live version from the real Lady Gaga showing that none of these pop successes are accidental. There's real talent here.

Hugh Van Es. 1942 - 2009.

Hugh Van Es. Saigon Evacuation, 1975.

The Dutch photographer Hugh van Es, who died this week, became justly famous for this one picture of Americans leaving Saigon, on one of the last helicopters out, on 29 April 1975, the day before the city was captured by the North Vietnamese army. At the time he was working as a staff photographer for United Press International.

The simple futility of the mathematical equation - number of people in line ÷ space in helicopter - made this a symbolic picture then, while the composition of the curved line of desperately waiting people, the outstretched hand of the person trying to help, elevated it into one of those of photographs for all time. Extraordinary moment x elegant composition = iconic picture.

The photograph has usually been assumed to be of the US embassy, but in an article in The New York Times a few years ago, Van Es wrote: "If you looked north from the office balcony, towards the cathedral, about four blocks from us, on the corner of Tu Do and Gia Long, you could see a building called the Pittman Apartments, where we knew the CIA station chief and many of his officers lived. Several weeks earlier, the roof of the elevator shaft had been reinforced with steel plate so that it would be able to take the weight of a helicopter. A makeshift wooden ladder now ran from the lower roof to the top of the shaft. Around 2.30 in the afternoon, while I was working in the darkroom, I suddenly heard Bert Okuley [a UPI staffer who escaped that evening] shout 'Van Es, get out here, there's a chopper on that roof!'"

Van Es grabbed his camera and dashed to the balcony. "Looking at the Pittman Apartments," he said, "I could see 20 or 30 people on the roof, climbing the ladder to an American Huey helicopter. At the top of the ladder stood an American in civilian clothes, pulling people up and shoving them inside. Of course there was no possibility that all the people on the roof could get into the helicopter, and it took off with 12 or 14 on board ... Those left on the roof waited for hours, hoping for more helicopters to arrive. To no avail."

After shooting about 10 frames, Van Es went back to the darkroom and prepared a print for his regular 5pm transmission to Tokyo. It took about 12 minutes to send a single print with a caption but, as he laconically put it: "Editors didn't read captions carefully in those days." The picture was erroneously described as showing the embassy roof and, after years of trying to put the record straight, the photographer gave up. "Thus," he said later, "one of the best known images of the Vietnam war shows something other than what almost everyone thinks it does."

Fraenkel

Currently exhibiting the work of the Bechers, this is the first room you walk into when entering the Fraenkel Gallery.

One of the most impressive photography sites in San Francisco is the Fraenkel Gallery at 49 Geary Street. Now celebrating their 30th Anniversary, the gallery pretty much sets the bar on how to do things with the utmost refinement, quality, and care - as you will see from all these pictures. I'm not sure that the early masters of photography could have even envisioned something like this - multiple galleries and private showrooms, busy staff, a level of finish you would expect to see only when looking at old master paintings. But Fraenkel have not only grown but thrived - and the secret of their success, I believe, is a passion for the work they show and the environment they create for it. Whether in their gallery, or in the cards and catalogs they print, or when they do an art fair there is a level of perfectionism that puts them in a league of their own. Follow me ...

A second gallery leads to yet another room.

In every room, the sight lines into the next room are carefully thought out.

Here, Richard Avedon's portrait of Robert Frank.

In the back office, a wall of invitation posters from previous shows.

Gallery registrar, Claire Cichy at her desk. Note the poster of a great image I had never seen before - Lee Friedlander's "The Topless Bride" from 1967.

A framed group of photo booth portraits taken at the gallery's 25th anniversary party. Click to see how many photo notables you can identify.

A work in progress - a maquette for the gallery's booth at next month's Basel Art Fair.

A Friedlander and an Eggleston in one of the private rooms.

A large Sugimoto movie theater and a smaller Robert Adams.

In the same back room a specially constructed table flips open to present smaller works.

An Adam Fuss and an Idris Khan.

And last but not least, gallery director Frish Brandt, our guide on the tour.

A Memorial Day Salute

AP Photo/David Guttenfelder

It may not be "Raising the Flag at Iwo Jima", but the picture above by David Guttenfelder makes an interesting addition to the history of war photographs - a genre we would of course be happy there were no more need for. Nevertheless it's a good picture of a real and courageous moment, so kudos to the photographer, who was embedded with the battalion.

Pictured here, soldiers from the U.S. Army First Battalion, 26th Infantry take defensive positions after receiving fire from Taliban snipers in the Korengal Valley of Afghanistan. Spc. Zachery Boyd was woken up by the gunfire and rushed from his bed to join his fellow platoon members without stopping to pull pants on over his "I ♥ NY" boxers.

As the picture made its way on to front pages around the U.S., Boyd was at first concerned he would be disciplined for being out of battle dress, but even Defense Secretary Robert Gates was moved to commend his courage. "The next time I visit Afghanistan, I want to meet Specialist Boyd and shake his hand." said Gates. "Any soldier who goes into battle against the Taliban in pink boxers and flip-flops has a special kind of courage!"

The soldiers next to Boyd are Spcs. Cecil Montgomery of Louisiana and Jordan Custer of Spokane, Wash. Spc. Custer is also out of battle dress with no socks and silver running shoes.

From San Francisco

Map charting the three principal trips Robert Frank took from June 1955 to June 1956, shooting pictures for what was to become "The Americans".

At the San Francisco Museum of Modern Art, I had the chance to catch up with the exhibition Looking In: Robert Frank’s “The Americans” which originated at the National Gallery and now runs through August 23 in San Francisco before moving to The Met in New York.

As most of you know, Robert Franks groundbreaking book was published 50 years ago and pretty much changed the course of photography. With a sensitive and yet tough eye, Frank looked at America and saw a profound sense of sadness under the rah-rah facade. He noted the changing iconography of America and noted that cars, diners, gas stations, and even the road itself were the new symbols of contemporary life. He saw cracks and divisions between rich and poor, black and white, those with power and those without, and recorded his observations in a seemingly loose but obviously controlled manner – shocking the establishment with his blurred foregrounds, tilted horizons, and off-kilter compositions. Frank’s vision of America was a mix of jazz and blues to his friend and supporter Walker Evans’ classical symphonies and perhaps shockingly every picture holds up today.

It’s a fabulous show, presenting some of Frank’s work prior to "The Americans", showing how the book came together, and then plunging you into a breathtaking display of all 83 pictures from the book laid out in sequence. I obviously can’t show all that – and the book is readily available in it’s 50th anniversary edition – but here’s a special treat:

Right before you enter the first room, there’s a huge display of three enormous frames in which a selection of 11 x 14 inch prints are arranged according to Frank’s memory to simulate the way he pinned up pictures on his wall to edit the book. A number of the prints were ones that didn’t make the final cut and I don’t believe that I, or indeed many people have ever seen them before. So here they are. Enjoy!