Golden Cap, continued

This past semester my photographic practice has been exploring the subject of inequality: wealth and income inequality as well as gender and ethnic disparities. I have been incorporating text from signs into scenes using Photoshop. For the summer, my tutor suggested placing text-based images I create into the landscape and rephotographing them. So before departing on this trip I prepared 3 images. One simply says “Broken Promises,” a famous graffito from the Bronx, another shows mathematical symbols for inequality, “<>” and “≠,” and I also abstracted a sign I saw in the car park of the Palm Springs Art Museum on a trip several years ago that simply says, “Imagine Art Here.” Then I asked Margaret to hold them for me while we were near Golden Cap. I also found places along our walks to place them in the scene. I’m not sure they’re really doing that much for me. Click any image to see them enlarged.

Inequality, continued

Last week we conducted some group tutorials on our projects. I showed various things I was working on, including some of my seesaw inequality images and explained why I was dissatisfied with them and not sure they were worth continuing. Suggestions from my group included:

  • Use Photoshop to lengthen the seesaw and dramatize better the gap between my capitalist and proletariat.
  • Re-shoot in London with skyscrapers behind – a graphic illustration of the inequality that exists there.

I’m not sure any of those is really having the desired effect but I took a stab at them in Photoshop, crudely lengthening the seesaw and then inserting a shot I had taken of skyscrapers in London last spring into the background, a couple of different ways. It was fun to play with, though still not quite as clear as what I was hoping for:

Inequality (draft)

This semester I wanted to start work on much more deliberate, composed subjects. Most of my photographs, for the last 50 years or more, have been just what I happen to have seen. Now I want to create work that shows my intent, leveraging my skills. My subject is inequality both economic (wealth, income inequality) and social (ethnic and sexual inequality). The first scenario I came up with was to have a capitalist (think of the Monopoly Man) at the top of a seesaw, held there by the labor of proletarians at the other end. The shoot was a couple of days ago.

Needless to say, everything that could go wrong did go wrong. I had asked classmates to join as my models and many agreed. However, the day of the shoot our all-day workshop was cancelled due to teacher absence so I had to reschedule since many people were not on campus. I had planned to shoot with the Pentax 645 film camera as well as the Fuji digital. For lighting I planned to use 2 flashes on light stands, triggered independently by transmitters on the cameras, the Pentax tripod mounted. In the end, I couldn’t get the extra flash I needed for the Pentax. I tested the trigger for the Fuji at home the night before but on the day nothing I did would get it to work, so I wound up shooting with the flash on the camera. We started the shoot around 5:00 pm as I wanted it to be somewhat gloomy and the sky cooperated, however it was quite chilly, which was rough on the models (and my hands) and the ground was quite muddy, limiting what I was prepared to ask them to do. Here are a few images from the shoot and notes from my journal on what could be better (click any image to see them all enlarged).

  • Lighting. Obviously, not getting any of the flashes or triggers to work is a big problem but more significantly I need a much better understanding and control of how the light is falling. In the shots above I’ve had to reduce the highlights on the faces significantly and introduce a diagonal linear gradient for the bottom right of most of the images to reduce excessive light on the grass and mud in the foreground. There is also the problem of the shadow under the seesaw and in a few other places, suggesting the need for some reflective fill.
  • Costume – compared with, say, Karen Knorr’s Gentlemen and Belgravia, this looks childish and amateurish. I’ve used unsubtle masks to darken the Capitalist’s red sneakers to black (in some of the images) but it’s either obviously blackened or the white trainer laces are showing. Really need to think about the capitalist attire as well as the proletarian attire.
  • Models – Again, using Karen Knorr’s work as a model, I should use professional models in appropriate attire. Need to think about how the models can represent the ethnic/sex aspects of inequality, too. I can probably still use students, but I’ll need to wait for finer weather and really choose models and attire carefully and deliberately in advance to meet the picture requirements.
  • Composition – Lots of problems here. The seesaw isn’t long enough for the height difference needed to dramatise inequality, so the idea doesn’t come across. So, either the concept doesn’t work at all, or I need a much longer, higher seesaw, which will introduce another set of compositional problems. The angle of the shot might need to be entirely different, looking up at the capitalist from behind/beneath the proletarians, for example, or looking down from his end. There’s not enough room at the low end of the seesaw for all the people I want, so they’re spread out, again weakening the gap between the 2 ends. The muddiness also meant I couldn’t really ask my classmates to get down as low as I might have liked.
  • So, a disappointing outcome but a lot of learning…

Dancers

They were being video-graphed by the woman you can see ton the bottom left corner of the top left photo as they performed their synchronized routine. They had gathered a crowd of watchers but I couldn’t find any other information about them. Click any image to see them all full sized.

American Utopia

St James Theater, New York

Back to the theater. For my birthday, we went to a crowded (masked and vaccinated) Broadway theater to see David Byrne’s American Utopia. I couldn’t resist grabbing one surreptitious shot from the balcony.

Jazz on a Sunday Afternoon

These guys played a great set, combining sweet lyrical pieces with wide ranging dynamics as well as driving, beboppy pieces from Chris Potter on sax, spectacular drumming from Nahseet Waits (who regular viewers may remember was in the trio I posted from a few weeks back) and confident rhythm support from Joe Martin on bass.

Click any image to see them all enlarged.

Jazz Yoga

Yoga
The Mall, Central Park, New York

As the concert, featuring Chris Potter on sax, Joe Martin on bass, and Nasheet Waits on drums, began, a demonstration of some kind of yoga or acrobatics was given to the music. At the end of the concert we heard that lessons were available. The photographer is Jimmy Katz, founder, with Dena Katz, of Giant Step Arts and the Walk With the Wind concert series.

Honoring John Lewis

The Mall, Central Park, New York

Before the final Walk With the Wind concert honoring John Lewis, a Columbia professor (I can’t find his name or school), read to us from Lewis’ late work, exhorting us to hope and to vote, invoking MLK’s recommendation to practice good, non-violent, bad behavior.

Walk With the Wind

The last Saturday of September we went to see one of the free Walk with the Wind performances in a series in Central Park honoring the memory of John Lewis. Performances, which are acoustic and feature small groups, take place at 1 p.m. on The Mall in Central Park. Here are some shots of the band – click on any one of them to see them all enlarged.