3 Must Get, Must Get Books

Ryann Ford- The Last Stop

All three of these books document things that are pretty much no longer there, things from our collective past.  And although digital photography may be all about the instantaneous sharing of all that is brand spanking new and however fleetingly unique, the major strength of photography remains as it's forever been- its ability to freeze, capture and immortalize time. It's ability to now traverse the globe in seconds time is truly remarkable, but nothing compared to its original mission; a mission it continues to retain and faithfully complete, no matter how forgotten. And these three books remind us all of its inherent power to transcend generations young and old, analog and subsequent.

Chris Killup- In Flagrante Two

One book is an absolute classic that is being reissued. Another taken at roughly the same period is being published for the first time for all the world to see. And even the latest color offering testifies to monuments of time and lifestyle forever lost.

Christine Osinski- Summer Days Staten Island

Chris Killup is the kind of photographer that can do everything well (very)- portraits, landscapes, and everything in between. He's at his peak with In Flagrante Two; hard to find a mediocre shot in the entire essay. Summer Days Staten Island is yet another paean to the glories of B&W, as Christine Osinski searches for the heart, soul and underbelly of that fifth, and forever forgotten borough of NYC. Finally, Ryann Ford's The Last Stop is one living color tribute to the democratic art and architecture that formed America's once unique and memorable roadside rest stops.

Under Construction

Photo: © S. Banos

I've been restoring my least damaged files at record pace in my spare time (and will continue long as I can). Along with some recent work and a few previously completed, I've completed over 60 hi res files; anxious to self publish and show something for the effort, I was wondering how the hell I would eventually edit an appropriate number into book form since there is no particular theme or set subject matter. The photography world in particular is prone to conniptions when things are not edited into a neatly packaged and uniform viewing platform, and understandably so- to a degree. I've never understood the photographic art world's  complete aversion to viewing images that are not specifically related, particularly since we do it every day without chronic after effect.

So I did a preliminary walk through, and it just so happened that approx 30 contained people, and an equal number didn't. Talk about self presenting solutions... how about a two volume set (never thought I'd utter those three words!), each approx 40 images- one featuring various humans; the other featuring only their signature, tell tale signs of chaos and achievement. Certainly not a tight enough edit for most photography connoisseurs; then again, I'm not operating under any delusions of curators beating a path to my door. This "legacy project" is one of several more to come in securing what I've continued to accrue- and what is left me.

And everyone will most assuredly be welcome to view the results, I'm guessing sometime late next fall- barring any major lifestyle complications...

2016 and Beyond...

Photo: © S. Banos

No idea what 2016 will bring, no clue. Well, for the most part... what I do know sucks and sucks bad, like global climate change. As I write this the North pole is actually above freezing- in the middle of winter!!! And the fact that we still don't have any effective response or solution (besides partying in Paris) is certainly far from promising. In fifty years when a whole lot more Earth is underwater, and even more people need room to live- it's gonna make the Syrian refugee crisis look like a New Year's Rockin' Eve. Of course, I will have put down my film camera for quite some time by then...

The wife and I voluntarily celebrated a giftless Christmas this year, highly recommended for couples who already have everything and live in a rent stabilized 1BR in one of the most expensive cities in the country/world. We can attest to no lingering after effects. Actually, there is one thing I'm looking forward to this year, and that's self publishing what will more or less amount to a Greatest Hits Compilation (Part1)- this after all being The Golden Age of Photo Books. Or... not.

Of course, if you want to truly get noticed amidst today's plethora of (self) publishing wonders, one has to present not only a competent series of photographs, but a comprehensive "art" piece complete with all the doilies, nick knacks and other visual/sensory ephemera that make for the complete artistic experience. Actually, ain't got nothin' agin 'im, just that finances dictate this'll probably be your standard Blurb production- although will definitely have another look/see at what's out there. Regardless, I'm very much looking forward to putting it together. I already have a total of some fifty plus hi res scans (restorations and otherwise), and looking forward to making another 25 or so before getting a group of 40-50 in a final edit, hopefully some time next fall...

Been very much looking for a photo book to get for some time, so glad to report that I finally found and am ordering Gus Powell's The Lonely Ones. I particularly like the small size and that the photos embiggen when you fold out the pages- a thoughtful extra step that not only supplies additional acreage for one's viewing pleasure, but also purposely forces one to slow down and... actually look at the photograph itself (the latter becoming a lost art in itself)! Meanwhile....

Happy New Year!

PS- And one more thing... to the 50+ organizations sending me emails asking, demanding and pleading for $$$- wish it so folks, but you're asking the wrong guy, (ie- barking up the wrong tree). Capisce? I give a few bucks to MSF and Amnesty Int- case closed. Rule #1- Don't expect money from people who make considerably less than you...

Still Waiting...

I started the year more than a little anxious to buy two upcoming photo books... and here we are at year's end- and they have yet to materialize in the public domain! I'm referring to Joakim Eskildsen's American Realities and Ryann Ford's The Last Stop. 

Something to look forward to in 2016, beyond the the coming year's now requisite mass slaughters...

Bruce Almighty!

Photo: Bruce Gilden

Photo: Bruce Gilden

Been a fan of Bruce Gilden's for quite some time, but even I was somewhat taken aback by some of his most recent offerings via his color Face portraits. They almost seem a cartoonish caricature of his earlier work. Has he finally crossed the fine line he's always tread between borderline art-shock and what the hell, pull the plug freak out? And just where is that ever moving, fine line located? Where was it drawn in modern music: the "race music" appropriated by Elvis, the Beatles' long hair, the polysexual costume excess of glamrock, or the NSFW lyrics of Hip Hop?

Face draws you in like a bad car accident ("like ruin porn, fascinating for five minutes," said one commenter); has Gilden now fully embraced shock value for its own sake- or are we the ones doing the dehumanizing by further reducing these images, and therefore the people they portray, to the likes of a car accident? 

This ain't a critique on the images themselves, which I admittedly am somewhat ambivalent about. And isn't that one of the hallmarks of great art, that which divides, shocks and more importantly- makes us think?  This is not so much about "Gilden, right or wrong," but about the reactions he so willingly (and knowingly) creates. Indeed, the comments to this article are well worth more than the original piece itself... all 476 of them!

Unfortunately, many of the commenters believe that Gilden turned his subjects into freakish ghouls and freaks via Photoshop, when in fact, the distortion they speak of came mostly through the use of a short lens used up close and personal with direct flash. Some are not only mistaken about how he achieved his results, but even go unto producing a bit of revisionist photo history to back up their claims. More than one comment tells us of how Arbus not only covered this ground previously, but also did it in a more openly emphatic manner that both humanized and endeared her subjects to us all. One commenter actually stated that at least "Arbus photographed them as they wanted to be posed." Really? I suppose none of that particular crowd ever read how she was roundly criticized for objectifying and dehumanizing her subjects!

And while many, if not most found his portraiture "obscene" or "robbed of humanity," others found it quite beautiful indeed- "can't help but notice how beautiful the eyes of his subjects are." More than one found them a most welcomed relief from the "orange blobs with teeth" that so many celebrity portraits look like today. Kim Kardashian's visage frequently came up as the modern day icon of a photographically manipulated freak.

Some seemed completely oblivious to the obvious lens distortion, swearing that these are what these people actually look like, and I have to wonder if at least some of those espousing Mr. Gilden's refreshingly warts and all look are also happy that while it's good we have people that look like that, they are also quite relieved to not be one of them.

Some savvy commenters noticed that while Sean O'Hagan's article stated that Mr. Gilden had obtained releases for his subject's photos, he failed to state if they were obtained before or after they actually saw the results. That wouldn't have particularly spoken as to their relevancy as works of art, but perhaps more to the integrity of the photographer himself. Either way, Gilden definitely doesn't give a flyin'. Question is, are his images strictly predatory and abusive- and if so, are we being superficial for liking them, or just as superficial for dismissing them offhand... One of the second hallmarks of great art is how much it reveals about ourselves.

Detroit Unbroken Down- Dave Jordano

Photo: Dave Jordano

The first thing one notices upon viewing this book is that it is unquestionably a labor of love. Mr. Jordano loves Detroit, and loves its people- as do they, despite all its faults, disappointments and dangers. One hears and sees little else but the latter anywhere anyone looks. Detroit Unbroken Down reminds us all that there are real people living there, beyond the ruin porn, gangstas and chosen downtown elite. Ordinary people desperately trying to live decent lives in a man made island of neglect and disrepair within the world's most powerful nation.

Photo: Dave Jordano

These portraits of people and community do not focus on the down and out, but neither are they feel good rainbows and unicorns. These Motor City denizens live a reality from which so many of its former residents fled unapologetically; yet, there they remain, refusing to give up and succumb, if only because they don't have the luxury of fleeing. If nothing else, these photographs remind us of that.

Photo: Dave Jordano

Photo: Dave Jordano

The Greatest Photo Book Of All Time

Yeah, I know- an utterly ridiculous statement. So why not just take it as fact and be done with it? I can't prove it, you can't disprove it. Satisfied? Doesn't matter- I'm going with it...

First off, you must simply dispense your personal beliefs and preferences and accept the fact that photography reached it's intellectual and artistic zenith with B&W in the early/mid seventies, and went completely downhill after that color revolution thing of the same decade. With me so far? OK, so I lost maybe... 97.5% of the entire photo audience. Again, doesn't matter.

The book itself is relatively thin, but on the large side- I could tell it wasn't gonna be cheap, and when I opened it and saw the reproductions, I immediately thought three figures. And when I saw the box that held it... Uh-oh. Yeah, it costs $250.

Photo: John Divola

But it's a goddamn gorgeous $250! The lusciously reproduced B&W photos contained in John Divola's San Fernando Valley are deceptively quiet, contemplative- the subtle quirks and nuanced details all hint at the resident's inner lives (when they're not openly broadcasting them with direct views into the camera's lens). The newly settled residents of Bill Owens' Suburbia were gradually affixing themselves into their emerging community; these guys are already settled, they're comfortable in their own skin. After introducing its residents, Mr. Divola's photos then go on to further explore the neighborhood's flora and architecture; and it's all good- exactly what you'd expect from the world's greatest photo book (of all time).

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PS-  Did I get it? Sadly, no. A little too rich for this boy's blood, but I did not return completely empty handed- I was quite happy to get Robert Voit's amazingly beautiful New Trees- a more than worthy typology of uniquely disguised cell phone towers. Ya see, this was supposed to be my now annual report from NYC, but having to address the growing needs of elderly parents, there was not much time to view (or attempt the making of) much photography while there. New York goes on as always, the poor struggle to house and feed themselves, while the rich revel in their own.

The Open Road...

The Open Road: Photography and the American Road Trip from Aperture Foundation on Vimeo.

Greatest Hits compilations whether musical, photographic or otherwise are usually uneven affairs; the usual played out, super hits squeezed under one rock for those who must have been living under one, and the mixed bag compilations containing a few of the aforementioned thrown together with a few B tracks or outtakes. I opened this delightfully designed book and it most certainly didn't have that run down, retread, let's milk the very last penny out of it feel. Yes, it does lead with the best and brightest usual suspects in the genre, but the graphics, layout and editing make for one impressive presentation! I anxiously leafed through a world class collection, all under one roof that made me want to purchase it right then and there- even though I already had many of the photographs in separate monographs (save for Inge Morath's impressive showing); beautiful reproductions that often contained one or two "new" finds (at least for me) for each photographer featured to add some zest and make it all the more worthwhile. Why then did I leave it lying on the shelf?

Two thirds of the way through I was pretty much besides myself at how solid a find this was; the damn thing had no weaknesses, no filler, no questionable additions whatsoever- and then... and then, the inevitable weak links finally surfaced as the book progressed in its timeline (ie- the eighties and beyond). More recent photographers with their own post modern versions of reinterpreting, reinventing and reconstructing the great American road trip. Not that they were necessary all bad: I do love Doug Rickards' A New American Picture, but Todd Hido's recent work (good as it is) looked kinda pale in comparison, and dare I say it, even Ryan McGinley's selected photographs weren't as bad as expected- but if ya even have to go there... not to mention the few I had no interest in whatsoever (so much for a clean sweep). Pity it didn't include Lizzy Oppenheimer's remarkable Rest Stops- it could have ended on a much needed high note!

Final verdict? A must get if you don't already have the monographs of included favorites- it's one beautiful, well laid out compilation, no doubt about it. And still worth getting, if ya got the idle cash to spare... better yet- save it, and take to the road!

Short Nights of the Shadow Catcher

Photo: Edward C. Curtis

Photo: Edward C. Curtis

Honestly, I don't know where people get the time to read books (no matter the medium) these days- I lead a boring, humble life and even I don't have the time. Anyway, I'm actually three quarters of the way through Timothy Egan's biography of Edward Curtis; not exactly a gripping page turner, mind you, but it does help if you're into: photography, history and the American Indian.

It's also interesting to see how a simple case of photographic curiosity, voyeurism and outright exploitation (sound familiar, anyone?) developed into a case of full blown obsession (sound familiar, anyone?), and he- into an outright genuine advocate. Curtis was a true American success story whose enduring artistic legacy was completely reliant on the precipitous decline and virtual demise of an entire race's way of life. And unlike so many of the viewers of his work, he became increasingly cognizant of that fact as he struggled to continue documenting their vanishing, centuries old culture(s) using the available technology of the day, including: language and music on wax cylinder, movie footage of customs and myths, and the plethora of still images which he would show in galleries, exquisitely bound books, and in concert halls with full orchestras and tinted slides projected by "magic lanterns."  .

Again, while somewhat plodding and tedious (at least for me), what helped retain my interest throughout Short Nights of the Shadow Catcher were the small human and historical details full of the irony that speak volumes in any era. Of these I will report in future posts...

George Georgiou- Last Stop

Many of these photos from Last Stop lack the masterful compositions usually exhibited in a typical George Georgiou photograph, and for obvious reason- you can only compose so much from the vantage point of a moving bus. But what he does manage to capture is nevertheless testament to an unfailing eye which still devours all worth seeing despite the self imposed limitations.

Of course, he's far from the first to do such a bus assignment, Tom Wood's wonderful All Zones Off Peak being the first that comes to mind. But despite the firmly planted derriere, it's simply amazing just how many alluring dramas and curiosities he does manage to find out and about in the public commons. Did I mention I'm a sucker for accordion bound books?

Yet another this year on the if only I had money (book) list- we're only at the start of Spring, and they're already starting to pile up...

How Much Would You Pay?

Photo from Self-Publish Be Happy by Lucas Blalock

For this masterfully done book brimming with photographic art and originality...
How 'bout $83.00?

Lucas Blalock. Self-Publish Be Happy, 2015.

Lucas Blalock. Self-Publish Be Happy, 2015.

Self-Publish Be Happy (SPBH) Book Club Vol. VII by Lucas Blalock. Self-Publish Be Happy, 2015. - See more at: http://blog.photoeye.com/2015/03/book-of-week-pick-by-remi-faucheux.html?utm_source=photo-eye&utm_campaign=7153e953d0-API_Newsletter_Volume_2_Number_167_24_2014&utm_medium=email&utm_term=0_867a4f7ae2-7153e953d0-87968493#sthash.ZoPV47Pi.dpuf

Self-Publish Be Happy (SPBH) Book Club Vol. VII by Lucas Blalock. Self-Publish Be Happy, 2015. - See more at: http://blog.photoeye.com/2015/03/book-of-week-pick-by-remi-faucheux.html?utm_source=photo-eye&utm_campaign=7153e953d0-API_Newsletter_Volume_2_Number_167_24_2014&utm_medium=email&utm_term=0_867a4f7ae2-7153e953d0-87968493#sthash.ZoPV47Pi.dpuf

Fukushima- Antoine d'Gata

Had I the money, Fukushima by Antoine d'Gata would be on my get NOW list... One thorough, photographic synopsis of our world in microcosm- past, present and future at the dawn of the 21st century. A B&W time capsule fully cataloging the folly that is mankind.

American Realities...

Photo: Joakim Eskildsen

Actually, I'm not the greatest Joakim Eskildsen fan. I have The Roma Journeys, and while most of the photos are perfectly... OK, most of them really don't light my fire. I bought it primarily because of the half dozen or so photos that I saw online and imagined the rest to be as good, but (for me) the book just didn't follow through visually (purchased online). Truth be told, I bought it for the photo of the guy in the tub- I had to have the guy in the tub. He still makes me smile just thinking of him.

But I am, very much, looking forward to American Realities.* Personal aesthetic preferences aside, Eskildsen is one very thorough photographer, who once again looks like he went into this project to break it down not just visually, but sociologically, to give us a more intimate, accurate and nuanced portrayal of how far our once common American Dream has dissipated and deteriorated. Besides, I already see a coupla photos I just have to have...  *(not yet out)

Photo: Joakim Eskildsen

Ryann Ford's Last Stop

Photo: Ryann Ford

Can't believe just how good this essay is, each and every photo a small world unto itself- and a near perfect one at that! Each and every image a sight to behold for its: beauty, humor, and alas, fragility- many of the subjects no longer exist. The perfect amalgam of history and kitsch, scenic wonder and nostalgic delight; like a good film comedy or stand up routine, that absolute rarest of commodities that manages to import and redefine so many of life's trivialities, offering depth and insight well beyond the cheap laugh.

Won't be the most important, socially relevant, or artistically innovative monograph of the year, but Ryann Ford's The Last Stop will be THE book I want most in 2015, one that I will look at often, with great pleasure, and for many a year to come...

Photo: Ryann Ford

Vivian Maier: A Photographer Found

It's BIG, it's thick, it's (fairly) Expen$ive- most of all it's... surprisingly damn good! Surprisingly, not because I had any doubt whatsoever about Vivian Maier's talent, but because this is the first book of her work that one doesn't have to make excuses for. There's nothing to complain about as far as the quality of the reproductions (unlike that first powerHouse sepia fiasco), and there's a good amount of work included- even though the book excludes some shots I've already come to regard as "favorites," there's still many a potent image to be found here that demonstrates just how much talent she had at her command. You look through this body of work and any lingering doubt that anyone may still hold that she was just some lucky holiday snapshooter with a load of posthumous publicity at her back... well, that just implodes and dissipates into the envious, vacuous bullshit that it always was.

This woman was in control of her vision- and she was killing it. A shot of her with Rollei and Leica at the forefront shows this was one very determined female on a mission. Nothing la-de-da in her attitude, or her results. I just came upon Vivian Maier: A Photographer Found the other day, so I'm late in the game, but there's no doubt whatsoever this is the best of the bunch thus far, by far. You get a good sense of who and what she was as an artist, and it is amazing how she predated so much of what was yet to come on the street...

And as if that wasn't enough, there's even a few choice color shots thrown in; a handful to be fair, but just enough to let you know that she could talk the talk and walk the walk in that language too. A couple could easily have gone into Eggleston's For Now. I don't have the money to grab this one at the moment (Xmas sounds nice), but it's certainly good to know that there's finally, at least one good, representative book out there, right now that shows Ms. Maier in her best light before that scum trawling bucket of sleaze gummed up the works.

Books! Books! Books!

In case ya haven't seen Blake's post on B, or Alines's on Lenscratch, there are some pretty damn good photo books for sale via Blue Sky for a really damn good price! These are not ebooks, but real, on paper books by damn good photographers. And although they may not be as "refined" in presentation as your more standard photo book offerings- B assures us they are, in fact, good enough (and that's good enough for me). Did I mention the prices? Something for everyone, and I'm gonna get me some...

US Marshalls- Art And Testosterone

Photo: Brian Finke

No doubt that Brian Finke can take one helluva photo. This guy's got chops, period. He can take high adrenaline action shots and formalize them into "fine art" color photography that can compete with the best of 'em. Not only does he make masterful use of the color palette, he also artfully composes his shots so that the action (or lack of it), staged or real, grabs your attention and holds it. And his use of lighting is just the right balance to complement and define the shot without sanitizing or commercializing it. It's interesting to examine just how this guy sees and work, and how he brings that complexity of vision to this particular "action genre."



Photo: Brian Finke

Do ya sense a but here? That's because I could not help but feel a tad queasy while viewing U.S. Marshalls. They no doubt do some really great work, dangerous work, necessary work that has to be done. But I'm also leery of all the gun ho, militarization of today's various police forces, and their glamorization. While millions upon millions are being poured into this nation's law enforcement agencies, many, if not most prisons today get little to no dollars for: rehabilitation, drug rehab, job training or education programs. Why, oh why, should prisons get funding for such programs? Because the vast majority of those prisoners will be coming out unto our streets once again at some point. Banned by law from public housing and effectively banned from most jobs when they are made to confess their personal history on job applications- wouldn't we all feel considerably safer if they had something constructive to do with their time? And maybe, just maybe, that is in large part why prisons nationwide hover around a 70% recidivism rate- what other business is allowed to operate with such a ridiculously high failure rate?



Photo: Brian Finke

If anything, this book reads as much recruitment poster, as it does art. Perhaps that's not entirely fair to throw in when judging a monograph solely on artistic merit, but eminently fair when considering and judging as a work of art.

Mr. Finke was allowed access to the world of US Marshalls through a childhood friend, now agent. During that time, effectively as an embed, they talked of mutual childhood acquaintances that were currently incarcerated. Perhaps one day Mr. Finke will also allow us a view into the federal prison system. And at that point, I may even accuse him of painting too alluring a picture of prison life...

PS- In the interest of full disclosure, Powerhouse Books contacted me to write about this book- no money, books, or other miscellaneous swag were exchanged in the process.

Touching Ambiguity- Richard Renaldi

Richard Renaldi: As good as it ever gets!

I usually (usually) steer clear of putting down other people's work- unless it's particularly offensive in some manner. And work that I'm ambivalent about is particularly hazardous, since I'm not sure exactly what I'm conflicted about, let alone how to go about expressing it. Of course, that's the work one should most analyze and discuss since that's the kinda stuff you just may learn something from...

And that's pretty much the way that Richard Renaldi's Touching Strangers strikes me; there are photographs in there that border on transcendent, and others that just leave me cold and feel anywhere from trite to exploitative. Some undoubtedly live off the well composed, feel good, snapshot vibe of Humans of New York; and others feel like everything just gels- emotionally and aesthetically. Well Stan, that's the way strong bodies of portraiture work, you're not gonna like each and every one of 'em. True enough, and lord knows we've all been through the mill as to what portraits can actually "reveal" about anyone, anyway. The problem with Touching Strangers is that there are so many times when I don't even trust my own judgement- is the very premise of its unconventional raison d'etre (photographing complete strangers in such close personal proximity) clouding and prejudicing my judgement? I honestly don't know. Does that mean he has at the very least succeeded as an artist- even if I don't like many of the photographs? Quite likely.

We all know that photographs lie, now we are also forced to deal with the degree of feigned connection and spontaneity these people project because of each other- and these portraits purportedly portray. Or has Renaldi actually managed to both initiate and capture the human bond of interconnectedness lying nascent within us all? Perhaps that seeded sense of ambiguity is why his project works so well- at least on certain levels. And perhaps it is also the gimmick that it so successfully exploits to make us look past it's more obvious weaknesses. Or maybe, maybe I just resent the fact that I have to share in the work here and struggle to make up my mind over and over again about each and every factor, concerning each and every person, in each and every portrait.

Like I said, I'm on the fence about a lotta these- and that ain't gonna clear up anytime soon...

Richard Renaldi- Not quite feeling it (is that the point?)... Are the "failures" also a success? A fail proof project?

I Am Looking For Life- Anders Petersen

fineArtPrint.lv with Anders Petersen from fineArtPrint on Vimeo.

Photo: Anders Petersen

I recently saw Anders Petersen's retrospective book (called... Anders Petersen); it's a big thick book (something like 250 photos) and about a third of the way through it began to wear on me, as if I had already just rifled through the trials and tribulations of several rather complex and very idiosyncratic lives. One of the reasons it began to wear on me was because of the way the book is set up, and because of the way Mr. Petersen photographs. In short, there are too many photographs facing each other, and this claustrophobic feel is further enhanced by the high contrast look Mr. Petersen employs. Fortunately, there are no washed out highlights so characteristic nowadays of careless B&W digital post, rather, Mr. Petersen lets the shadows go dark and the corners vignette for drama. It's intense, and makes each and every photograph demand attention- not a bad thing, just not so great when they're so crowded together, seemingly competing with one another.

Would I recommend this (not inexpensive) book, this sometimes hard to look at, hard to get through book? ABSOLUTELY! For the simple reason that so many of the images are... so good. There's certainly enough for at least two, maybe three solid books here; think of it as life writ large: compressed, condensed and magnified. Images that make you question, draw nearer, and sometimes have you retreat; it's certainly never boring and will even reward you with the occasional smile. As with life itself, one must learn to pace oneself, enjoy it as much as possible and explore it as it unfolds. And then there's the man himself, as unassuming as his diminutive Contax T3, you can sense his presence on every page...

The Waiting Game- Txema Salvans

Photo: Txema Salvan

A while back Mishka Henner's No Man's Land introduced us to the prostitutes that populate Italy's periphery, and did so via screenshots of Google Street View. It was a fascinating use of technology, and a completely impersonal glimpse of their existence. Later, Paolo Patrizi did a boots on the ground documentation called Migration, concentrating on the circumstances and conditions of the women who work that particular landscape. It put humanity back into the computerized images we saw standing about, and gave testimony to the consequences of their lives- even if we didn't actually see that much of... them.

Now we have The Waiting Game by Txema Salvans, where the prostitutes are located in southern Spain. Senor Salvans employed a rather novel method in capturing these working women in candid repose- he would drive around disguised as a topographer, complete with a topographer's tripod he had specially designed to mount his view camera upon. Ingenious, yes. Ethical? The surreptitious photographs of Mr. Alex Garcia immediately came to mind as he went about secretly recording the residents of inner city Chicago. Do these photographs sink to that level? Salvans states that he thought about paying his subjects, but that would have resulted in posed or uncharacteristic scenarios. His disguise option seemed the best method available to not violate... The Prime Directive.

Photo: Txema Salvan

So how is his method any different than Garcia's, or Henner's for that matter, since Salvans was no more involved with his subjects than some guy at a computer monitor? Garcia's subjects were all in one very specific and geographically accessible neighborhood, these women are working in various, rather isolated areas and are not native to that land. Many are controlled by pimps with links to their homelands (as Salvans himself explains), and do not want to be photographed for obvious safety reasons; hanging out in plain sight to gain their trust over time would have also been a costly proposition to all concerned- particularly the women in more ways than one.

All things considered, I think he did what he had to do and in the best possible manner. You may think otherwise, and I would most definitely like to hear why (make sure you read the interview first). Aesthetically however, there's little argument that these photographs are the best of the lot (unless, of course, you disagree)...

Photo: Txema Salvan