April 2005; Archive
 
 
A shared joy.
Brooklyn, New York
PHOTO: Alexandra Huddleston
 
 

Friday, May 6, 2005
A friend of mine, Christoph Bangert, got one of his photos published on the cover of the New York Times today. He is currently in Iraq.
I don’t always agree with the Times’ choice of cover images, but – yes, I am totally biased in this case – I certainly think they made a good choice today.
In fact, I was walking down the street when that cover photo caught my eye at the newsstand (which it normally doesn’t). I said to myself…"I wonder if that might not just be a photo by Bangert"…and indeed it was.
I'm proud of myself for spotting his style from so far away, but I’m much prouder of him for getting the cover and for following his passion: photography.

 
 
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Cherry blossom festival.
Brooklyn, New York
PHOTO: Alexandra Huddleston
 
 

Tuesday, May 3, 2005
I bought a 50mm (f1.4) lens for my digital camera last week, and I’m liking it quite a bit. At last, an aperture that actually gives me some depth of field with a digital camera!! And at last, I can take pictures without that dratted distortion around the edges…of course I have to keep stepping farther back from my subject.

 
 
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A Birthday Party.
Washington Place, New York
PHOTO: Alexandra Huddleston
 
 

Wednesday, April 27, 2005
Today I want to talk about a very simple idea: style, is the combination of a conscious and unconscious manifestation of our values. It’s a very simple idea, but I’m afraid I didn’t fully learn it until a couple of months ago. I started thinking about my clothes. I was wearing comfortable old sneakers, worn jeans and a five year old suede jacket with the top button missing. My hairstyle was short and simple. I had on some powder and lip gloss, and a hat that didn’t match anything else I was wearing. Sometimes, I have it together. I put the right clothes on so that I look the part of that urban, hipster artist. But not everyday, perhaps not most days, and on that day, my style was a disaster.
At this same time, it was an effective demonstration of my values. Looking at my clothes you might be able to tell: I’m not a vegetarian. Money is not my chief concern. I value comfort. I like things with some history to them. Femininity is not something I’ve thought much about, and I don’t tend to examine myself critically in the mirror (hence the hat).
A similar type of observation could be brought to my photography and similar values would appear. While I use a digital camera, I have never been obsessed with getting the latest equipment and researching the most cutting edge camera gadgets. I like old processes like black and white and large format cameras. I don’t like technical nit-picking to get in the way of what I want to say. I let my equipment get a bit beat up because I'd rather get the picture than worry about getting a scratch on my lense. I enjoy a certain amount of imperfection and chaos in my creative process. (Indeed, it might be one of my most fundamental values, though one that I often lose touch with in this drive for perfection and professionalism that our modern world imposes.)
The values that lead to good art do not necessarily lead to good fashion. I guess this is why I’m not too worried that my style is often such a mess.

 
 
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A Birthday Party.
Washington Place, New York
PHOTO: Alexandra Huddleston
 
 

Tuesday, April 26, 2005
John Berger, “Drawn to that moment” from The Sense of Sight:
There is a story about Kokoschka teaching a life class. The students were uninspired. So he spoke to the model and instructed him to pretend to collapse. When he had fallen over, Kokoschka rushed over to him, listened to his heart and announced to the shocked students that he was dead. A little afterwards the model got to his feet and resumed the pose. ‘Now draw him,’ said Kokoschka, ‘as though you were aware that he was alive and non dead!’

One can imagine that the students, after this theatrical experience, drew with more verve. Yet to draw the truly dead involves and ever greater sense of urgency. What you are drawing will never be seen again, by you or by anybody else. In the whole course of time past and time to come, this moment is unique: the last opportunity to draw what will never again be visible, which has occurred once and which will never reoccur.”

 
 
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At the movies.
East Village, New York
PHOTO: Alexandra Huddleston
 
 

Monday, April 18, 2005
Now that I have my portfolio together, I’ve begun to show it to various photographers and editors around the city. The process certainly hardens one to outside criticism…and I’m not sure this is such a good thing. The hardening is not simply a self defense mechanism. It comes in part from the amazingly contradictory responses received. In the same day I’ve gotten: 1.) I like your soccer work, but the portrait series only weakens my response to your work overall. 2.) The portraits are great. 3.) I think you should re do your book. Make it half and soccer pictures, half the portraits and add in a few of the color images.
Thus far my favorite quotes are: “keep on shooting,” “keep in touch,” and “well, you certainly have enough pictures.” I have now heard these lines many times.
But, a funny thing did happen today while I was showing my book. It turned out that a classmate from college, Josh Haner, was working as a photo editor at one of the magazines I visited. Josh and I were both in Joel Leivick’s photo III class at Stanford. We were part of a core of students who were really serious about photography. I think Joel was always skeptical about our commitment, but thus far, it looks like many of us have kept it up and are still shooting. I always wondered what happened to Josh Haner. You can check out some of Josh’s work on his website.

 
 
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Spring fever .
SUNY Purchase, White Plains, New York
PHOTO: Alexandra Huddleston
 
 

Saturday, April 16, 2005
At time I’ve compared being a photographer to being a frog. The process of metamorphosis is similar. At the beginning we are all frog eggs. There is no way to measure the potential of a frog egg. Most will be eaten by predators or die from temperature fluctuations. Then, we become tadpoles. We swim around energetically taking pictures haphazardly of everything we see. Nonetheless, most will decide they don’t want to grow up to be a frog so they become dragon flies or investment bankers instead -- or they get eaten.
Then, there’s that horrible in-between stage. You are a fat tadpole with legs and then a small frog who can’t hide its tail. That tail is so embarrassing and other frogs like to point it out and use it to keep you in your place. That’s just about the stage I’ve been in the last couple of years. But, now I think I’m finally being accepted as a young frog. A bird could still come along and eat me, but at least I’ve made it to the frog stage.
In large part it’s a relief to be a frog because now I can move on to another idiom, perhaps one that’s a bit more romantic, like the hero quest, or white martyrdom.

 
 
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Kareoke on Ave A.
East Village, New York
PHOTO: Alexandra Huddleston
 
 

Sunday, April 10, 2005
Here is part of the sections from Austerlitz to which I was referring to below.


Austerlitz, W. G. Sebald
“…In face at this time, usually when I came home from my nocturnal excursions, I began seeing what might be described as shapes and colors of diminished corporeality through a drifting veil or cloud of smoke, images from a faded world: a squadron of yachts putting out into the shadows over the sea from the glittering Thames estuary in the evening light, a horse-drawn cab in Spitalfields driven by a man in a top hat, a woman wearing the costume of the 1930s and casting her eyes down as she passed me by…
…I had several such experiences in Liverpool Street Station, to which I was always irresistibly drawn back on my night journeys. Before work began to rebuild it at the end of the 1980s this station, with its main concourse fifteen feet below street level, was one of the darkest and most sinister places in London, a kind of entrance to the underworld, as it has often been described…
…I remember, for instance, that one quiet Sunday morning I was sitting on a bench on the particularly gloomy platform where the boat trains from Harwich came in, watching a man who wore a snow-white turban with his shabby porter’s uniform as he wielded a broom, sweeping up the rubbish scattered on the paving. In doing this job, which in its pointlessness reminded me of the eternal punishments that we are told, said Austerlitz, we must endure after death, the white-turbaned porter, oblivious of all around, performed the same movements over and over again using, instead of a proper dustpan, a card board box with one side removed, and nudging it along in front of him with his foot, first up the platform and then down again until he had returned to his point of departure, a low doorway in the builders’ fence reaching up to the second story of the interior façade of the station. He had emerged from the doorway half an hour ago and now disappeared through it again, with an odd jerk, as it seeming to me. To this day I cannot explain what made me follow him, said Austerlitz. We take almost all the decisive steps in our live as a result of slight inner adjustments of which we are barely conscious. But in any case, that Sunday morning I suddenly found myself on the other side of the tall fence, facing the entrance to the Ladies’ Waiting Room, the existence of which, in this remote part of the station, had been quite unknown to me…I hesitated to approach the swing doors, but as soon as I had taken hold of the brass handle I stepped past a heavy curtain hung on the inside to keep out drafts, and entered the large room, which had obviously been disused for years…Minutes or even hours many have passed while I stood in that empty space beneath a ceiling which seemed to float at a vertiginous height, unable to move from the spot, with my face raised to the icy gray light, like moonshine, which came through the windows in a gallery beneath the vaulted roof, and hung above me like a tight-meshed net or piece of thin, fraying fabric…”

 
 
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Reading the Sunday New York Times.
East Village, New York
PHOTO: Alexandra Huddleston
 
 

Tuesday, April 5, 2005
A couple of months ago I spoke a little in this blog about W.G. Sebald’s book Austerlitz. I mentioned how I felt it was, in part, a meditation on the role of photography in the history and memory of the 19th and 20th centuries. Last week I came upon a passage in Walker Evans At Work, that reminded me so much of a pivotal scene in Austerlitz that I am tempted to say Sebald must have read Evans’ writings. At the very least, the parallels in those two moments of writing made me realize just how similar are Evans’ and Sebald’s approach to both history and the contemporary human environment. While one uses writing and another uses photography, they both describe and delight in their environment – their man made environment – as a means of revealing, almost unearthing, human history and culture. Buildings, in particular, reveal a wealth of information about the human animal and his desire and his tragedy in the hands of these two artists.

Below is the passage written by Evans. Later this week I will give you the passage written by Sebald.


Walker Evans at Work, p210


“Messrs. Norton-Taylor, Banks, Allner, McQuade
From Walker Evans, a proposal
This morning I went out of curiosity through an unguarded entrance into the grand old main interior of the Pennsylvania Station. Right now it is a spectacular theme – I need not tell you why – but I wish to say that in the light of our [Architectural] Forum inheritance there is an immediate portfolio to be executed there, plus a story related to railroad and real estate economics was well as U.S. art history and architectural history down to and through the contemporary…
But I must stress the immediacy of the proposed action; the great main room (the Baths of Caracalla copy) is being demolished right now. Photographically speaking, the lighting is difficult, and in many places just impossible, which precludes color work; but there are enough black-and-white possibilities to make up a short portfolio…
Respectfully submitted [October 1963]"


On another note, yesterday I learned that Walker Evans graduated from my high school. This made me exceedingly happy.

 
 
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A rainy day at the Bagel Zone.
East Village, New York
PHOTO: Alexandra Huddleston
 
 

Saturday, April 2, 2005
I have finally put together a portfolio of my best work from the last three years…of course most of the photographs are from 2004: two pieces are from 2002 and one is from 2003. I’ve combined color and black and white, medium format and 35mm, film and digital, and…I think it all works together quite nicely. I’ve printed the portfolio out on my inkjet printer so that, like in a magazine, all these various formats end up in the same medium.
I have also bought a nice, padded, portfolio case to protect the work from the wind and the rain and a beautiful little tag that fits on the portfolio case’s handle to show off my business card. I’m doing my best to put everything together in as professional a manner as I my budget will manage, and I think I have succeeded quite well.
Now I get to find out what other people say. After several months of editing and printing and redesigning my website, it’s time to take this show on the road and see what other people think…”other people” mainly being photo editors. In some ways this is the hardest part, but I’m ready to leave this extended stage of production behind and move on to new adventures.
As I look around my studio, there are a few tasks to finish: the last story for the website, a few odd images I haven’t gotten around to printing, but the majority of my work is done…which leave me feeling a bit odd. So, of course, I’m quite happy when I remember the growing stack of 120mm, black and white film next to my printer: new film to develop! New film to shoot! Ah! The cycle is to begin all over again.

 
 
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Three photographers .
Brooklyn, New York
PHOTO: Alexandra Huddleston
 
 

Sunday, March 27, 2005
From Walker Evans At Work, p222


Work alone if you can. Girls are particularly distracting, and you want to concentrate; you have to. This is not anti-feminism; it is common sense. Companions you may be with, unless perfectly patient and slavish to your genius, are bored stiff with what you’re doing. This will make itself felt and ruin your concentrated, sustained purpose….


Concern yourself not with the question whether the medium, photography, is art. The question is dated and absurd to begin with. You are art or not; whatever you produce is or isn’t. And don’t think about that either; just do, act.”


Walker Evans c. 1966, from “Random Notes and Suggestions For Photographers”

 
 
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