Jump to content

Joel Sternfeld--Street photography with 8x10"


david_goldfarb

Recommended Posts

There was a small piece in <i>The New Yorker</i> this week (9 July 2001) on Joel Sternfeld, who has a new exhibit at the San Francisco Museum of Modern Art, as well as an interview with him on NPR this morning ("Weekend Edition," 7 July 2001), which might be available at www.npr.org. From the <i>New Yorker</i> piece, which included one image, I hadn't realized he worked in large format (my guess without seeing an actual print would have been Mamiya 7/7II), though I thought the image included was composed with remarkable care for a candid street portrait.

 

<p>

 

In the interview he talked a bit about working in 8x10" and said he felt that his subjects took the process more seriously because of the elaborate equipment. He mentioned that he usually tells the subjects that the film costs $7 a sheet, and that adds to their sense that they are participating in something important. It seems as if he is capitalizing on the response that I am sure many of us get when walking around with a big camera, of people saying "Take my picture! Take my picture!," without really knowing anything about you or your project or what will become of the pictures you take.

Link to comment
Share on other sites

Sternfield's work has always been a joy to look at whether on

walls in a gallery or museum setting or in a book. (This is at

least his third book).<P> An interesting thing to do is to compare

his work to that of two other contemporary "street' photographers

who work with 8x10" film: Joel Meyerwitz (who also works in

color0 and of course, Nicholas Nixon who works in B&W. I think

they all put the lie to he notion that large format is only for

landscapes and unspontaneous subjects.

Link to comment
Share on other sites

If you had ever seen one of his prints in person, Dave, you would

have had no doubts:)

Joel Sternfeld was my photography instructor at Sarah Lawrence

College and was an artistic mentor to me. I consider myself

incredibly lucky to have studied with him - his careful and

philosophical approach to photography set me on an artistic path many

young people miss. To wit: doing it by hand is a good thing, limited

resources make one work harder, and dedication to craft and an

intimate understanding between the photographer and his equipment are

ESSENTIAL if you want to lead an examined artistic life.

I remember him describing to us how, when he went across the country

to make his first book "American Prospects" (a definitive masterpiece

of New Color work), he limited himself to one or two exposures per

day, because of the expense of the film. Unlike those who cry that

their cameras don't focus fast enough, that they need the immediate

feedback of digital to learn anything, or who bemoan "wasted" shots,

Joel maintained these limitations made the photographs and formed him

as an artist. I think the truth of this sentiment is made clear the

moment you see his work.

I went to him when I was a sophomore and asked him what he thought

would be the best large format camera I could get for my paltry $400.

Without missing a beat, he said, "Get the Crown Graphic. It's a hell

of a lot of camera for a little money." I bought the Graphic, and

have shot 4x5 and 6x9 with it ever since, learning the ins and outs

of flatbed camera focusing and non-reflex viewfinding. Not to say

that I'm a photographic genius, but I wouldn't be half the

photographer or thinker that I am if I hadn't taken Joel's advice and

followed the example he set every day.

Joel Sternfeld is a hell of a guy, and I think about what he did for

me and my classmates every time I shoot. I hope he's doing well:)

 

<p>

 

By the way, if you've never had the opportunity to see his work, do

yourself a favor and pick up one of his books. "American Prospects"

is an unparalleled study of space, geography and the American

zeitgeist. "On This Site" is also an excellent study of space and

memory.

Link to comment
Share on other sites

David, Ellis, Joshua, and all...I learn a great deal here, and am even

inspired once in a while, so just wanted to thank you for your

comments on Sternfeld, and add 2 cents worth. I've been managing my

photographic life in competition with a demanding day job for years,

and am looking toward retirement and full time photography within next

few years. I also have been well taught in thoughtful, deliberate

technique by good folks in workshops...Chuck Farmer, Dick Garrod,

George Tice, Michael Smith/Paula Chamlee, and others. I'm assuming

the for-money work in the future will be mostly portraits, unless the

world beats a path to my door and anoints me as the next Ansel or Paul

Caponigro or Minor. But I had also been assuming I'd have to load up

on lots of new medium format stuff, and fancy lighting equipment, and

learn to work like the average portrait photographer. These notes got

me thinking...I really love the process of working with my 4x5, and

have loved that camera since I opened the box from Ron Wisner's

factory and saw all that brass and wood and leather. And everywhere I

go with it, people react just as someone said above...people stop and

look and ask about it and want to know why I'm doing this. Even

taught me a few new words in France. Maybe I should just keep going

from where I am...thanks for making me think.

Link to comment
Share on other sites

John:

YES, YOU SHOULD! Get that "old" 4x5 out. The basic principles of

photography have never changed - nothing "new," fancy, or

"sophisticated" will make a damned bit of difference when the light

hits the emulsion. What matters is how you *feel* about your work

process - that shows in the final work. As for the people who stop you

on the street - that happens to me, too. Sad to say, most of them

don't say "Wow, that's really cool," they say "Why would you want to

use that 'old' thing. . . does it make antique PITCHERS?"

Once in a while, I give them a brief tutorial on why

35mm-digi-point-n-focus-shoot-in-a-bag-with-buttons is not really top

of the line, but they don't seem to get it. Oh, well. It's times like

that when the saying "poor is the man whose pleasures depend on the

permission of another" really resonates with me. Do yourself proud,

John, and shoot that big film!!!! Good luck!!!!!

Link to comment
Share on other sites

  • 2 months later...

I know this thread is a little dated, but have to write about my

expirience at SFMOMA. I went specificaly to see the "Adams at 100"

show, being an Adams fan I found it enjoyable, but have to admitt

that I was a little disapointed in the show. However I was totally

unprepared for Sternfeld. From one who is not easily impressed these

prints are absolutely stunning. To see this collection of large

prints is an expirience that I can not get out of my mind, one of the

best exhibits that I have seen. Anyone out there been to the show?

Link to comment
Share on other sites

Yes, I went to SFMOMA to see the Ansel Adams at 100 exhibit. I, too,

was totally blown away at Joel Sternfeld's exhibit. At the end of the

exhibit, I searched and searched for the accompanying book, but the

museum had already sold out. Depression set in.

 

<p>

 

Well, today I got my Amazon.com delivery notice that the book had

been shipped. I look forward to having the book in my home, so I can

relive one of the most amazing photographic exhibits of my lifetime,

as of this writing.

 

<p>

 

Very few potrait photographers have been able to make me stop and

saw 'wow'. As I looked at the 50 or 60 huge photographs of his

subjects, one thing really was clear. All of the portraits had a

feeling as if I were looking through his/her eyes. I mean real

contact.

 

<p>

 

Question of the day: Do you think his photographs drive his

intentions further by using a large format 8x10 camera? Does the

added reolution matter?

 

<p>

 

I believe so, as I felt the men and women in the photographs were in

the same room. I don't want to move away from his 'art', but the 8x10

camera was definitely a good tool in the hands of a master.

Link to comment
Share on other sites

  • 6 months later...

I have been studying Joel Sternfeld's books and I really love his

work. I would be curious to know more about his technique if anyone

has details.

 

<p>

 

What film does he use?

 

<p>

 

Does he ever use supplemental lighting? Some of the shots seem to

have a lot of DOF with what seems like relatively dim natural light.

 

<p>

 

How does he interact with the subjects? What kind of direction (if

any) does he give them?

 

<p>

 

How many shots does he generally take of each subject?

 

<p>

 

Is he very fast setting up the shot? Some of them seem like people

who would not have much patience to wait for view camera adjustments.

 

<p>

 

In urban settings, does he look for a good potential spot, set up,

wait for a good subject, and then ask permission to shoot?

 

<p>

 

Is he refused often when asking for permission to shoot?

Link to comment
Share on other sites

Of course, opinions are like ... well, you know. For me, the

photography contained in "On this Site" is exemplary and I have spent

a lot of time pondering Sternfeld's technique. As with Phil (above),

I'd like to know more about how he does what he does and if anybody

has any more detailed info to share, I'd very much appreciate hearing it.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...