Life's Little Adventures

The Avedon Years, Part XVIII

THE KENNEDY BOOK

I've just purchased that new book of photographs by Richard Avedon, THE KENNEDYS: PORTRAIT OF A FAMILY. While I had little to do with producing these photos way back in 1961, I do remember the event. At the time I was a second assistant to Avedon, and assignments like this were usually reserved for the first assistant and studio manager Frank Finocchio. My turn came the following year. I did, however, do some of the darkroom work on the Kennedy assignment while Frank made the finish prints.

What I found surprising about the book is the amount of text devoted to Avedon and especially to his photographic techniques. There are contact sheets of several of the complete rolls of 120 film, straight prints made from selected negatives, Avedon's finish prints from the same images, and examples of the extensive amount of retouching. Unlike the more "purist" photographers such as Ansel Adams, Dick required that his prints be heavily manipulated for maximum emotional effect. I learned these techniques from Frank, and took over when he left in early 1962.

It was Jacqueline Kennedy who agreed to the Harper's Bazaar photo session as J.F.K. himself was not very interested in appearing in a fashion magazine. Sensing this, Dick Avedon offered to also do photos for the more mainstream Look Magazine, which was acceptable to the president-to-be. The outdoor-casual Look photos differ greatly in both attitude and style from the more formal indoor studio portraits taken for Harper's Bazaar, even though they were both taken at the same place in Palm Beach, Florida on the morning of January 3, 1961.

In 1966 Avedon donated all of the Harper's Bazaar photos from that session to the Smithsonian Institution in Washington, D.C., which now owns the copyrights on them. The Look photos vanished when that magazine went out of business but were rediscovered among Jacqueline Kennedy's papers in 2006.

POSTSCRIPT:

Avedon was a great admirer of the Kennedys, and had previously photographed Jackie for Harper's Bazaar in 1958. So it was with great shock that he received the news of J.F.K.'s assassination. On November 22, 1963 we were in the middle of a sitting in his New York studio at 110 East 58th Street. I went to call our color processing lab to have them pick up the load of exposed film, but the phone didn't work. Neither did any of the other phones. So I went downstairs to an office below us and asked to use theirs. Those didn't work, either. I immediated thought that the phone line to the building was out of service, so I went outside to use a pay phone on Park Avenue. As that also didn't work I noticed a great deal of commotion in the streets, and ran back upstairs to turn on the radio. Then we heard the terrible news.

Avedon spent the next day wandering the streets, photographing people's emotional responses to the sad event.

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The Avedon Years, Part XVII

ABOUT CAMERAS

Checking out the hits on this blog, I notice that one recurring question asked of Google (and other search engines) is "What Cameras Did Avedon Use?" Well, I can answer that as far as the periods 1952 through '56 and '60 through '65 are concerned. And I doubt that his choice of cameras was significantly different at any other time in his nearly 60-year career.

But first, a little observation. A camera does not a photographer make. Avedon's genius had little if anything to do with his choice of cameras; instead it centered around his ability to manipulate subjects into revealing their true personalities in the case of his portraiture, and his sense of design and fantasy in the case of his fashion photographs.

Nevertheless, he was most comfortable with just a few specific cameras. They were:

The 2.8 Rolleiflex. The one pictured above is almost identical to the ones Avedon used, except for the selenium cell above the top lens. Dick never used built-in exposure meters. Some of his had Zeiss Planar lenses, others had Schneider Xenotars. The actual lens didn't matter as long as it was f/2.8 for easier focusing and 80mm for just the right perspective. He frequently used closeup lenses, in which case the top one had some correction for parallax.

The photo on the left shows Avedon holding a Rollei, with me standing by. It was taken in 1955 at the Hearst Castle in California.

As a touch of elegance, he at that time used a camera case that was custom made for him by Louis Vuitton in Paris. It was solid black and did not have those silly LV emblems. It held two Rolleis, a meter, sunshades, and several rolls of 120 film.

The 8"x10" Deardorff. This wooden field view camera was relatively light in weight and folded up compactly. Its swings and tilts were somewhat limited, but Avedon rarely made use of that feature. It was equipped with a 12" lens, probably a Goerz-Dagor in an Ilex shutter, but my memory is a bit foggy on that little detail, so don't quote me.

Dick at the time always used a bulb release for shooting — this consisted of a rubber bulb connected by tubing to a plunger on the shutter. I, or another assistant, had to cock the shutter, close down the f/stop, put in the film holder, and withdraw the slide as fast as he could squeeze that bulb! And he was lightning fast! In fact, his favorite expression to me while shooting was "Quick as the Wind." We usually shot at least a dozen (or many more) sheets of film for every picture.

In the studio, the Deardorff was mounted on a Saltzman stand on wheels. That's me in the photo on the right with the monster in 1953, taken in the studio at 640 Madison Avenue in New York. This stand was actually easy to use as it had a counterbalance inside the upright column, linked by chains to the part that went up and down. Turning the crank up front locked the whole thing in place by lowering grips to the floor.

Notice the black focusing cloth. This was fairly heavy so it would stay in place, and was lined with dark red cloth.

The front standard of the first Deardorff had the fancy script letters "RA" in gold, another little touch of elegance. Later replacement Deardorffs lacked this feature.

On location, the Deardorff was mounted on a Majestic tripod, which was made of lightweight aluminum and could be easily carried. That's it in the photo on the right, which shows Dick at work while I kept the film coming, in San Francisco in 1955.

The Deardorff traveled in its own custom-made case, but that was not always up to rough handling by airlines — as I once found out. After that incident I always packed spare ground glasses and a tool kit. We usually carried about 20 or more film holders, each loaded with 2 sheets of film. These were loaded into the holders in whatever really dark room we could find, often a hotel closet. The sheets of film had a notched code in the upper right corner so they could be identified in the dark.

The 8"x10" Sinar. In 1964 I convinced Avedon into purchasing a much more advanced camera that would speed up his photography. This was the Sinar modular monorail view camera, which cost thousands of dollars but was well worth it. Its operation was highly automated in that the closing and cocking of the shutter and the predetermined closing of the aperture occurred automatically as the film holder was inserted. Also, all of the controls could be operated from the rear of the camera, and another clever gadget eliminated the need for a focusing cloth. This magnificent piece of engineering was made in Switzerland to the very highest standards. It was equipped with a 300mm f/5.6 Schneider Symmar lens and a Sinar automatic shutter. Avedon must have loved it as pictures from just a few years ago show him with it, or with a similar one.

The Mamiyaflex TLR. A Mamiyaflex for Avedon? Yes. Although not nearly as rugged as a Rollei, the twin-lens Mamiya had certain advantages for closeup head shots as it focused much closer, had a clumsy but very effective method of parallax control, and allowed the use of longer lenses. He probably didn't much care for it, but used it for cosmetic and hairstyle photos where a Rollei would have introduced too much distortion. Its downside was its vulnerability to rough handling and its overall clumsiness.

The Pentax 35mm SLR. Avedon very rarely worked in 35mm other than for personal snapshots, but his Pentax was used for some "paparazzi" shots during the 1963 Paris collections, and for the opening and closing photos of his book "Nothing Personal" in 1964. Why not a Nikon? I don't know, he just wasn't interested in getting serious about 35mm work.

That's about it. I've never known him to use any camera other than those above. In coming entries I'll discuss such matters as film, darkroom procedures, lighting, studio design, and so on. Stay tuned.

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The Who Revisited

AN AMAZING JOURNEY

Not only were The Who back again with a wonderful new album of fresh songs in the Fall of 2006, but just a year later they released a double-DVD set documenting their entire four-decades-long history.

This is not a performance video; in fact it mostly contains only brief snatches of music. Instead, it is a meticulously crafted story of the band and of each of its four original members, as recently told by Roger Daltrey and Pete Townshend, supplemented with earlier interviews with John Entwistle and Keith Moon — both of whom are sadly no longer with us. There are also informative pieces by other rockers including Sting, Eddie Vedder of Pearl Jam, and The Edge of U2.

The history goes all the way back to the 1940s, with footage of the London Blitz and childhood photos of the band members, then goes on to cover the development of British popular music through the postwar years and into the 60s and 70s.

Also included is D.A. Pennebaker's film "Who's Back," documenting the 2003 recording of a song about Townshend's childhood by the two remaining members of the band. Filling in for the deceased ones are Zak Starkey (son of Ringo Starr) on drums and Greg Lake (of Emerson, Lake & Palmer fame) on bass guitar.

Another treat for fans is the inclusion of a long-lost film of a live performance in 1964 at the Railway Hotel Pub in North London, the earliest known performance footage of The Who — then known as the High Numbers.

There is also a three-disc version of this package, with the third disc showing part of a 1979 performance in Chicago. I have not seen it.

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France's Var Valley

In each of my Daytrips guidebooks I include a few really offbeat destinations that you probably won't find in other guides. This is because I like strange experiences. One of these, taken from the Sixth Edition of Daytrips France, describes an unusual journey by narrow-gauge train from Nice up into the lower reaches of the Alps. Here it is:

Trip 48

Var Valley

Little known to foreign visitors, the narrow-gauge rail line through the Var Valley offers a magnificent visual treat coupled with an exciting ride. The private railway, properly known as the Chemins de Fer de la Provence, operates along a spectacular mountain route in the lower Alps netween Nice and Digne. The same trip can also be made by car.

GETTING THERE:

Trains of the private railway depart from the Gare de Nice CP, just a few blocks north of the main station, T: 04-9703-8080. It is necessary to get to the station by 8:30 a.m. if you plan to make a whole day of it. Be sure to pick up a current schedule to determine which stops can be made — and for how long. Schedules are also available at the main Nice station, and also online.

On some days during the summer a steam train with antique cars is used on one or more runs on part of the route between Puget-Théniers and Annot. A premium charge is made for this. Ask at the Nice station or online for details.

By Car, you can cover most of the same route by following the N-202 north from the Nice Airport. There are difficult mountain roads between Scaffarels and St.-André-les-Alpes, but these can be bypassed by sticking to the N-202. The end of the route, St.-André-les-Alpes, is about 120 km (74 miles) northwest of Nice.

PRACTICALITIES:

Trains operate all year round, although on a reduced schedule in winter. The Tourist Office in Entrevaux, T: 04-9305-4673, is inside the town gate. The phone number in Nice for the Provence Railway is T: 04-9703-8080.

FOOD AND DRINK:

There are simple restaurants and cafés at each of the stops. Some of the better choices are:

Le Vauban (Place Marceau, Entrevaux) Specialties of Provence indoors or out on a terrace with great views. X: Sun. eve., Mon. T: 04-9305-4240. €€ and €€€

De l'Avenue (in the village of Annot) A small country inn with meals. X: Nov. through March. T: 04-9283-2207. € and €€

L'Amandier (N-202 at the station in Puget-Théniers) A great value, and convenient. X: Sun. eve., Mon., Nov. T: 0409305-0513. €

SUGGESTED TOUR:

Numbers on parentheses correspond to numbers on the map.

Board the train in Nice (1) and ride it all the way to St.-André-les-Alpes (2), a trip of about 2½ hours, or 120 km (74 miles). Along the way you will climb through narrow gorges to an elevation of 3,353 feet, then begin a short descent to the pleasant little mountain resort (photo, below). This is a fine place for a delightful country lunch, or you may decide to take the next train back to Annot or Entrevaux and eat there, depending on the schedule.

 

The wonderfully picturesque old town of Annot (3), founded in the 12th century, is another excellent place to have lunch. If you do stop there, be sure to check the schedule so you don't miss out on seeing Entrevaux.

The most visually exciting town along this route is Entrevaux (4), an ancient walled fortress approached via a drawbridge over the Var stream (photo, above). Once a frontier between France and the Kingdom of Savoy, its present ramparts were built in 1695 by Vauban, Louis XIV's great military engineer. Wander through the unspoiled passageways to the 12th- and 17th-century former Cathedral, known for its richly-decorated interior. Perched high above the village is the mighty Citadelle — a castle (photo, left) that may be visited in summer by asking at the tourist office (Bureau d'Accueil). There is also an interesting small museum of about 70 motorcycles dating from 1901 to 1965 in the village. T: 04-9305-4078. Open Apr.-Sept.

If time permits, you may want to make a stop at Puget-Théniers (5) before returning to Nice. This lovely old town, dominated by the ruins of an ancient castle, has a fine 13th-century church and an attractive square. It is also a well-known center for steam-train activities.

Text, map, and B&W photos copyright © 2005 by Earl Steinbicker, updated to 2007.

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The Avedon Years, Part XVI

DEFILING A CASTLE IN SPAIN

Not just any castle, but the castle — and not just at any time, but during the ultra-conservative Franco dictatorship. It happened this way:

The time was August 1964, and Richard Avedon had just finished covering the Fall Couture Collections in Paris for Harper's Bazaar Magazine. Following that he had a commercial job to do for a long-time client, Maidenform. They were still using their theme "I Dreamt I Was (whatever) In My Maidenform Bra," and this time they wanted the model to be dreaming about living in a castle in Spain. The ad agency had arranged to use the Alhambra in Granada under the guise of taking high fashion photos — and never revealing what the product really was. Now, the Alhambra is probably the most revered place in Spain and certainly could not be used to peddle ladies' undies. Especially not during the authoritarian rule of Generalísimo Franco when strict morality was enforced by the secret police.

So it had to be done on the sly.

Immediately after photographing the Paris Collections, Avedon and I flew to Madrid, then transferred to a decrepit old piston plane bound for Málaga on the southern coast. The flight was rough, and my hands were sweating. Noticing this, Dick assured me that we couldn't possibly die on any assignment this ignominious.

From Málaga we took a taxi up through the Sierra Nevadas to ancient Granada, where we checked into the elegant old Alhambra Palace Hotel, practically next door to the castle itself. There we met the model, who had come up from Torremolinos, and the ad agency account executive, Kitty D'Alessio of New York. A plan of attack was worked out over an outdoor dinner near the Generalife Gardens.

Zero hour was early the next morning as we had to be finished before the tourists arrived. A guard was assigned to "help" us, and he was the one we had to shake off. Our cunning plan went into effect. We began by "taking" normal fashion shots in the lovely Court of the Lions (photo, left), working slowly enough for the guard to get bored. I then asked him to do a minor errand in exchange for some pesetas, which would get rid of him for a few minutes. As soon as he was out of sight, off came the outer garments, revealing the forbidden bra. A few rolls of Ektachrome film were shot in Avedon's two Rolleiflexes before we heard footsteps. Immediately the outer clothes went back on and Dick resumed "taking" normal fashion photos. Finishing the fake pictures, he thanked the guard and we left.

Now for the getaway.

The naughty deed done, we had to get out of town quickly before the authorities found out and confiscated our film. Or threw us in jail. Dick and Kitty hired a cab to take them all the way to Madrid, a distance of some 270 miles. He also took the cameras and film as I was going on to a vacation in Japan and would not be back in New York for several weeks. I also hired a taxi to take the model back to Torremolinos and then me to the airport at Málaga. From there I flew to Madrid, then on to Paris and Tokyo. But that's another story.

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WORDS INTO BOOKS

I've just finished preparing my latest book for the printer. In this case, as with the last four books, I did the entire process by myself — partly to cut costs to a bare minimum and partly because it was a challenge that turned out to be not so difficult. This meant not only writing the text, but also doing the graphics, taking, manipulating, and inserting the photos, designing the pages, proofreading, and doing the index. The finished file that I send to the printer can be used for either offset or POD printing, as sales warrant.

If you've ever had the urge to try this, read on.

Here's how it's done:

STEP 1, WRITING:

I do my writing in MS Word, although any good word processing program would do. The important thing is to create separate files for each chapter or other discreet unit such as title page, copyright page, table of contents, introduction, etc. Doing the whole book as one file can will result in nightmarish problems. Number each file, starting with the first page, using file names such as MyFile.01.doc., and keep the numbers consecutive. If the number of files exceeds 9 be sure to put a 0 before numbers 1-9, otherwise they will not line up in the right order. And if the files exceed 99, add two 0's before numbers 1-9 and one 0 before numbers 10-99. This will help when, as the last step, you put the files together into one huge pdf file for the printer.

I recommend using an easy-to-read font such as Courier for the initial manuscript. Double space it, and use a font size a bit larger than it will be in the finished book. This will give you some "elbow room" as you insert the files into a publishing program. Proofread this and correct any spelling or grammar errors. Better still, have someone else proofread it as well. Authors often don't see their own mistakes, which is logical since they're the ones who made them.

STEP 2, GRAPHICS:

In the books I'm doing, the graphics are mostly maps. These I create using CorelDraw, although any good draw program that can output in a TIFF format will do. For decent resolution I save these at 600 dpi. Do not use the JPEG format for graphics where fine detail is important. Creating the graphic in layers makes it much easier to edit and correct. If you are copying from another graphic, scan it as the bottom layer, trace it in upper layers, then delete the scanned bottom layer when you are done. Graphic files are then given a file name corresponding to the text file that they will become a part of, such as MyFileGraphic.01-1.tif.

Although a regular mouse can be used to create graphics, I've found it much easier to use a Wacom graphics tablet. This allows you to draw as you would with a pen, using either the stylus or small mouse, both of which are included. There are one or two other brands of these tablets that are less expensive, but I have not tried them.

CLICK HERE to read what I wrote about making the graphics in May 2006.

STEP 3, PHOTOS:

I use photos that I've taken over a period of years, which can be in print, slide, negative, or digital file form. Prints I scan at 400 dpi, while slides and negatives are done at either 600 or 1200 dpi depending on their size in the book. I use a modest HP flatbed scanner that can also do 35mm slides and film, and open the results into Photoshop Elements. There I first crop and resize the file to the final book size, and change the resolution to 400 dpi in JPEG format. Then comes the manipulation of colors (or conversion to B&W, as needed), density, and contrast. Highlights are usually darkened, and shadow areas brightened. Other photo editing programs may work just as well, but I've been using Photoshop Elements for several years now and it suits me fine. Each saved photo is given a file name that corresponds to the text file that it will be entered into. Example: MyFilePhoto.01-1.jpg.

STEP 4, USING A PUBLISHING PROGRAM:

Desktop publishing programs take all of the text, graphics, and photo files and puts them into numbered book pages. It is important at this point to keep separate publishing files for each chapter or other discreet unit, and to number them consecutively so you get them in the right order when finally assembling the book.

I use Serif's PagePlus X2 as my desktop publishing program, although there are others that work just as well. PagePlus is relatively inexpensive and quite easy to use. If interested, you can download a trial from Serif. If you purchase it, they will send it to you on a CD disc along with a printed manual — all the way from Nottingham, England! CLICK HERE to read what I wrote about this in June 2006.

Change the fonts to ones that look better in books. My choices are Times New Roman for text and Arial for headlines. Because I must crowd a lot of information into the pages, I set the text at 9 pt. and headlines at 10 or 12 pt. Photo captions are set at 8 pt. italic. This is really a minimum; most books should use 10 or 12 pt. text. For line spacing I use 110% of point size.

At this point it is a good idea to print out each file as you create it, so you can check for the inevitable errors.

STEP 5, INDEXING:

Once you've printed out the files it's easy to create an index. I do them using MS Word (any other word processing program is probably ok) by arranging all of the printed sheets in page order, beginning with the first text page. Starting at the top of the page, I look for things that should be indexed and type them into Word, in alphabetical order along with their page numbers. This file is then inserted into the publishing program at the end of the book.

STEP 6, CREATING A COVER:

Covers of all books for sale must have a Bar Code in the lower right corner of the rear cover, which must meet the Bookland EAN standard. To get one you will first need an ISBN Number (International Standard Book Number), which you get from your publisher. Print-on-Demand (POD) services such as Booksurge often act as publishers and can furnish one. For more information contact Bowker Bar Code Service. Once you have the ISBN you can have a bar code done professionally by an outfit like Bowker, in which case it will be tested and free of error, or do it free online and take the very small risk of it not working properly. Either way, it should be downloaded in the EPS (Encapsulated Postscript) format, which you can convert to TIFF in Photoshop prior to insertion on the rear cover. If you're friendly with a local bookstore, you might ask them to test your bar code.

I do covers using the same PagePlus X2 desktop publishing program as for the inside pages. The trickiest part is an accurate measurement of the spine width. Your printer can give you a mathematical formula for determing this once you have decided on paper stock and final page count. Any error here can result in a slightly off-center cover.

Photos can be inserted onto the cover in JPEG format, although I prefer to use TIFF for maximum definition. Use AT LEAST 300 dpi. Anything lower may well be rejected by the printer.

Words and symbols are done right in the desktop publishing program. Doing this in PagePlus X2 is easy once you have read the manual and used the tutorial.

This is what a cover file looks like as it is sent to the printer:

STEP 7, MAKING A PDF BOOK FILE:

When you are satisfied with all of the chapter files, you can go into book mode and arrange the files in the sequence desired. Then click on "Publish as PDF" or something like that. This may take a while if there are many pages. At the end, Adobe Reader will open so you can see your entire book before burning it to a CD.

Remember, the complete inside of the book is on one file; the cover is on a second. Name these files as (ISBN number)_book_block and (ISBN number)_cover.

STEP 8, SENDING IT TO THE PRINTER:

There are two ways to send the files to the printer: First, ship the CD. This is simple and troublefree, but may take a few days unless you use FedEx. Second, send it to them over the Internet using FTP (File Transfer Protocol). Just bear in mind that a typical book file is usually over 100 MB in size, and maybe several hundred, so a high speed connection is essential.

ABOUT PRINT-ON-DEMAND:

While offset printing is the least expensive way to produce books, and usually results in high quality, Print-on-Demand (POD) printing has the great advantage of eliminating inventory so you don't wind up with a garage full of unsold books.

CLICK HERE to read what I wrote about POD publishing in June 2006, and then click through for a July 2007 update.

Finally, be sure to request one copy as a proof before ordering more. It doesn't happen often, but sometimes there are compatibility problems between your file and their computer that can result in substituted fonts — or worse. 

SALZBURG, AUSTRIA

A few months ago, as I was finishing my guidebook Daytrips Bavaria, I added a one-day visit to Salzburg in Austria because it is so close to Bavaria and so easy to get to from Munich. And because it was already written as part of my forthcoming Daytrips Austria guidebook. So here it is — print it out and use it on your next trip to Germany or Austria:

Trip 23

*Salzburg

Austria

Squeezed between mountains and the Salzach River, Salzburg's picturesque historic district overflows with Baroque treasures lining the narrow streets and spacious square. This combines with a world-renowned musical heritage and a stylish flair for good living to form what is surely one of Europe's very best attractions. No visitor to Munich should miss this Austrian treat, less than two hours away.

Although settled since prehistoric times and a thriving place during the Middle Ages, Salzburg's grandest moments occurred during the Baroque period of the 17th and 18th centuries. Throughout this time the city was ruled by its archbishops, whose influence extended south all the way to Italy. It was not until 1803 that Salzburg was secularized, and it did not become a part of Austria until 1816. The coming of the railway in the mid-19th century put it right on the main line connecting Paris, Munich, Vienna, and Budapest. Now easy to reach from anywhere in Europe, Salzburg prospered as a major destination for lovers of music and art.

The names Salzburg and Mozart are practically inseparable, with memories of the composer popping up just about everywhere. Wolfgang Amadeus Mozart (1756-91), of course, was born here and, although he traveled extensively throughout Europe as a young man, spent considerable time in Salzburg before breaking with the archbishop and moving to Vienna.

Salzburg became famous for music of a rather different sort when the Hollywood hit The Sound of Music was filmed in and around the town in 1964, bringing a flood of tourist dollars that has not abated to this day. Several firms offer Sound of Music guided bus tours, which might be fun if you enjoyed the film. Ask the tourist office about current offerings.

Every year, from late July until the end of August, Salzburg holds its renowned musical festival, the Salzburger Festspiele, as it has since 1920. There's plenty of Mozart, of course, but also many other kinds of music as well. During this period the hotels are full, restaurants jammed, streets crowded, and prices high. Be sure to book well in advance if you intend to visit at that time.

The walking tour described here begins with a glorious view of the historic center, explores the narrow streets, visits some of the major attractions, takes a funicular up to the old castle, and ends — if you like — in a beer garden overlooking the town.

GETTING THERE:

Trains, many of the high-speed variety, connect Munich with Salzburg, a ride of 1½ to 2 hours.

By Car, Salzburg is 142 km (88 miles) southeast of Munich via the A-8 Autobahn in Germany and the A-1 in Austria.

PRACTICALITIES:

Salzburg may be enjoyed on any day in good weather, but unless you're coming for the Festival you might avoid the period from late July through August, when the town is jam-packed with visitors. For Festival information check their website.

The Tourist Information Office is located at Mozartplatz 5, T: (0662) 889-87-330. There is also a branch in the main train station (Hauptbahnhof) at Track 2a, T: (0662) 889-87-340. Ask about the economical Salzburg Card, which covers the museums, sights, and public transportation. This is a real bargain for the one-day walking tour described here.

FOOD AND DRINK:

Being one of Europe's major tourist destinations, Salzburg abounds in all types of restaurants, at all price levels. Here are a few suggestions for local and regional cuisine:

Zum Eulenspiegel (Hagenauerplatz 2, near the river, north of the Geburtshaus) Several floors of tiny dining rooms for a cozy experience; Austrian cuisine. T: (0662) 843-180. €€ and €€€

K+K Restaurants am Waagplatz (Waagplatz 2, west of Mozartplatz) Four floors of restaurants with traditional Austrian and International cuisine, all at different prices. T: (0662) 842-156. €, €€, and €€€

Bologna—Zum Mohren (Judengasse 9, north of Residenzplatz) A cellar restaurant in a 15th-century house near the river. Austrian and Italian cuisine. T: (0662) 840-680. X: Sun. €€

St. Peter's Stiftkeller (St. Peter's Bezirk 1/4, west of the catacombs) An historic eatery with atmospheric dining rooms, plus an outdoor courtyard for alfresco meals. T: (0662) 848-4810. € and €€

Wilder Mann (Getreidegasse 20, near the Geburtshaus) A rustic place for typical Austrian dishes. T: (0662) 841-787. X: Sun. €

Sternbräu (Griesgasse 23, behind Getreidegasse, 2 blocks west of the Geburtshaus) Solid Austrian fare, either indoors or in the courtyard garden. T: (0662) 842-140. €

Weisses Kreuz (Bierjodlgasse 6, just north of Festsungsgasse) Tasty Croatian cuisine at modest prices. T: (0662) 845-641. X: Tues. €

Stieglkeller (Festungsgasse 10, near the lower station of the cable car) A huge, sprawling beer hall and garden serving basic Austrian dishes, but mostly beer. T: (0662) 842-681. €

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Begin your walk with a great *view of the castle rising above the old historic center. This is best had from the gardens of Schloss Mirabell (1), a palace built in 1606 by Prince-Archbishop Wolf Dietrich for his mistress, who bore him ten or more (they lost count) children out of wedlock. Just six years later the archbishop was thrown into the dungeons of Hohensalzburg Castle; his successor, Markus Sittikus, taking over the palace and renaming it Mirabell. Later remodeled in the Baroque style, it now houses city government offices. When the doors are open (Mon., Wed., Thurs. 8-4, Tues.+Fri. 1-4. Free), you can take a peek inside to view the monumental Marble Staircase and the ornate Marble Hall. The marvelous *Gardens were laid out in the Baroque manner arounf 1690 by the gifted architect Fischer von Erlach, who created so much of Salzburg's splendor. Stroll through them, perhaps getting a glimpse of the tiny Zauberflötenhäuschen in the grounds of the adjoining Mozarteum music school, near the southwestern corner of the gardens. It was in this hut, originally located in Vienna and later transferred here, that the impoverished Mozart supposedly composed The Magic Flute in only five months during the last year of his life, 1791.

Exit the gardens between two wonderful statues. To your left, across Makartplatz, stands the Mozart-Wohnhaus (2), a.k.a. the Tanzmeisterhaus. It was here that young Wolfgang Amadeus Mozart lived with his family from 1773 until his heated dispute with the archbishop in 1781 forced a quick move to Vienna. Partly destroyed during World War II, the house has been rebuilt and is now a museum devoted to the early life of the composer. T: (0662) 874-227-40. Open daily 9-6, remaining open in July-Aug. until 7. €€, combo with birthplace €€.

Follow the map across the Salzach River and into the historic center, beginning at Rathausplatz. Turn right on *Getreidegasse, the lively main shopping street of Old Salzburg. In a short distance, on the left, you will come to:

MOZART'S GEBURTSHAUS (3), T: (0662) 844-313. Open daily 9-5, remaining open in July-Aug. until 6:30. €€.

You can hardly miss the old house in which Mozart was born in 1756 and in which he lived with his family until 1773. Beautifully restored with period furnishings, this upstairs home is filled with Mozart memorabilia such as his childhood instruments, harpsichord, manuscripts, letters, portraits, and even a lock of his hair.

Continue on Getreidegasse, taking in the whole colorful scene, all the way to its end. There make a hard left into Bürgerspitalgasse, passing on your right the ornate Pferdeschwemme (4), surely the most elaborate horse trough you'll ever see. Built around 1700, it was reserved for the exclusive use of the archbishop's horses. Just beyond this a tunnel pierces the Mönchsberg mountain, carrying Neutorstrasse into the western suburbs and the airport. Continue past the massive Festspielhäuser (5), a partly-underground complex of three performance halls cut into the mountainside and used for the annual Festival as well as other events.

At the far end of this, across the street, is something you might not expect to see in Baroque Salzburg. The Rupertinum Gallery (6) houses a collection of contemporary art augmented with excellent temporary exhibitions of modern painting, sculpture, and photography. The 17th-century building is unusual, having been remodeled by Austria's master of Fantastic Realism, Friedensreich Hundertwasser. T: (0662) 842-2200. Open daily 10-6, remaining open on Wed. until 9. €€.

Across Sigmund-Haffner Gasse stands the Franziskanerkirche (Franciscan Church) (7), consecrated in 1223 but altered several times since. Its long history is evident as the Romanesque nave gives way to a late Gothic chancel and a Baroque altarpiece.

The route now goes through a passageway opening into Dom Platz (Cathedral Square), the setting for the annual Festival production of Hugo von Hofmannsthal's 1911 play Jedermann (Everyman). In the center stands the Mariensäule, a column of 1771 with a figure of the Virgin. Cathedrals have stood on this square since the 8th century; the present Dom (8) is from the 17th. When its predecessor burned down in 1598, the then-archbishop Wolf Dietrich (see Schloss Mirabell, above) planned a truly monumental replacement. After Wolf went to jail for his political manipulations, his successor, Markus Sittikus, engaged the architect Santino Solari to design a more modest structure in a restrained Italian style, which was consecrated in 1628. The infant Mozart was christened here in 1756, in the 14th-century font, and later served as organist from 1779-81. At the cathedral's entrance are three massive bronze doors of 1958, representing Faith, Hope, and Charity. Just inside, to the right, is the entrance to the Dommuseum with its collection of cathedral treasures and some "arts and wonders" from the 17th century. Museum T: (0662) 844-189. Open mid-May through Oct., Mon.-Sat. 10-5, Sun. 1-6. €.

Stroll north into the adjacent Residenzplatz, where a great 35-bell Glockenspiel (carillon) set atop the Neubau Palace plays tunes at 7, 11, and 6, followed in season with a mighty organ response from the Hohensalzburg castle on the hill above. In the center of the square is the Residenzbrunnen, an enormous marble fountain of the 17th century, often regarded as the finest of its type outside of Italy. Mozartplatz, a few steps to the northeast, is home to the tourist office as well as some cafés. The western side of Residenzplatz is dominated by the:

*RESIDENZ (9), T: (0662) 804-226-90. Open daily 10-5. €€, includes audio-guide device and Residenzgalerie.

Like the Residenzplatz and other places in Salzburg, this palace is mostly the creation of the unfortunate Archbishop Wolf Dietrich, who wound up in the dungeons of Fortress Hohrnsalzburg for his trouble. The archbishops certainly liked to live in style as they performed their ecclesiastical duries — witness the fantastic Prunkräume (state rooms) that you will wander through as your audio-guide explains everything in English. Also included is the Residenzgalerie, a masterful collection of European paintings from the 16th to the 19th centuries, with an emphasis on 17th-century Dutch and Flemish works by Rembrandt, Brueghel, Rubens, and the like.

Follow the map through Kapitelplatz, home to the Kapitelschwemme, another magnificent white marble horse trough, and to the Erzbischöfliches Palais (Archbishop's Palace) of 1602. Pass through a gateway into St.-Peter's- Friedhof (10), an unusually peaceful cemetery with graves dating as far back as the 17th century. Mozart's sister, Nannerl, is buried here, as is a part of Haydn's brother Michael. The tiny St. Margaret's Chapel in the corner was built in the 15th century. Of prime interest to visitors are the ancient Katakomben (catacombs) cut into the rock face, with a 3rd-century chapel where secret masses were celebrated during Roman times. T: (0662) 844-5760. Catacombs open May-Sept., Wed.-Thurs. 10:30-3:30, Fri.-Sun. 10:30-4. €.

What may well be Salzburg's most beautiful church, the *Stiftskirche St. Peter, stands just west of the cemetery. Begun in the 12th century in the Romanesque style, it was drastically altered during the 18th century in the full-blown Rococo manner. Enter through the 13th-century marble Romanesque doorway on the west front to admire the gilded wrought-iron grille dividing the porch from the nave. Saint Rupert, who in AD 696 basically founded Salzburg on the remains of the Roman settlement of Juvavum, is buried here. Open 9-12:15 and 2:30-6:30.

Nearby is the base station of the Festungsbahn (11), a funicular that carries you up to that ancient castle high above the town. Operates every 10 minutes May-Sept., daily 9-9; rest of year daily 9-5. €€, includes entrance to castle grounds but not interior or museum; buy an "up" ticket only as you'll be walking down.

*FESTUNG HOHENSALZBURG (Fortess Hohensalzburg) (12), T: (0662) 842-430-11. Grounds open daily mid-June to mid-Sept., 8:30-8; mid-Sept. to mid-March, 9:30-5; mid-March to mid-June 9-6. Interior and museum hours slightly shorter. Combo ticket €€.

Salzburg's mighty fortress was begun in 1077 bt Archbishop Gebhard as a stronghold in the struggles between the Pope and the Holy Roman Empire of the German Nation, reached its present form in about 1500, was more heavily fortified during the 1600s, and abandoned during the Napoleonic wars. In 1861 it was partially restored and put to use as a military barracks, prison, and arsenal. You can walk around the grounds for some wonderful panoramic *views, after which you might want to take a tour of the interior rooms and visit the two small museums.

While on the hill, you can visit the nearby Stift Nonnberg (13), the oldest convent in the German-speaking world. Founded by St. Rupert around AD 700, it remains in use today — and was home to the real Maria von Trapp of The Sound of Music fame. Its Gothic church is from the late 1400s but incorporates frescoes from an earlier Romanesque church.

Return to the lower town via the steep Festungsgasse. Since this is the end of your tour, you might want to relax at the conveniently-located Stieglkeller (14), an enormous beer hall with a delightful outdoor beer garden overlooking Salzburg, a great place to watch the sun set over the mountain.

NEARBY ATTRACTIONS:

There are several small attractions very close to Salzburg that might interest you, especially if you're staying overnight. Two of the best are:

Schloss Hellbrunn — the archbishops' fabulous pleasure palace is located just three miles south of Salzburg. Built around 1615 for Archbishop Markus Sittikus, the palace has an interesting interior noted for its trompe l'œil decorations. Its main attraction, however, are the gardens with their cunning wasserspiele (water play) tricks that douse unsuspecting guests with hidden sprays of water. Be prepared to get a little wet! Get there on bus #55 from the station, Mirabellplatz, or Mozartsteg, in the direction of Anif. By car, bike, or foot take Hellbrunner Strasse south. T: (0662) 820-3720. Open July-Aug., daily 9 a.m. to 6 p.m.; May, June, Sept., daily 9-5:30; April and Oct. daily 9-4. Combo ticket €€.

Stiegl's Brauwelt — the glorious history and culture of beer around the world is celebrated at this vast brewery museum, where visitors end their tour with a sampling of the local product, a pretzel, and a souvenir glass. Bräuhausstrasse 9. Take bus #1 or #2 to Bräuhausstrasse. By car, head west through the tunnel by the Festspielhaus, then take Neutorstrasse, Moostrasse, and Nussdorfer Strasse to Bräuhausstrasse. T: (0662) 838-714-92. Open daily 10-5, until 7 in July-Aug. €€.

Copyright © 2007 by Earl Steinbicker

Why are the pictures in Black & White? Because that's what I needed for the book. The photo above of the Getreidegasse is a much older one that I took in 1970 for the cover of Opera News magazine. Here are some links:

CHECK OUT Daytrips Bavaria on Amazon.com

READ Daytrips Bavaria for free on Google Books

More free Daytrips sample chapters

And some related trips:

Beethoven's Vienna

Hallstatt

Hallein

Also, Salzburg is only a stone's throw from Berchtesgaden in Germany.

BEETHOVEN'S VIENNA

Back in 1970 my business partner and I were doing photography for Pan Am in Paris. With a few days off, we decided to fly to Vienna and do an assignment that I had for Opera News Magazine, photographing the various places in the Austrian capital associated with Ludwig van Beethoven. Several years later, in 1979, as part of my Great Trips / Europe project I was able to use photos from this trip on one of my brochure guides. This was the result:

NOTE: This material is nearly 30 years old, so some of it is out of date. But not much. With a few changes, you should be able to easily take the same Little Adventure today. Ask at your hotel, the local tourist office, or consult a good guidebook.

Beethoven's Vienna

A One-Day Trip in Vienna

Great Trips / Europe #48

Text, map, and B&W photos Copyright © 1979 Earl Steinbicker

INTRODUCTION:

Vienna during the 18th and 19th centuries was the unchallenged world capital of music, a magnet that attracted the talents of many young composers intent on rising to the top of their art. Perhaps the most famous of these émigrés was Ludwig van Beethoven, born 1770 in Bonn, Germany. His musical gifts became apparent at an early age and were exploited by an alcoholic father, a musician in the chapel of the Elector. Having gained the attention of the local nobility, the boy was sent at their expense to Vienna in 1787, where he received lessons from Mozart. Within weeks, however, his mother died and he returned to Bonn, soon to be faced with the task of supporting his now unemployed father and two younger brothers. Rising above his petit bourgeois origins, the young Beethoven became close friends with several members of the aristocracy, and it was through them that, in 1792, he again went to Vienna; there to spend the rest of his life.

Beethoven's position in the history of music can hardly be overestimated. He was the transitional force between formal classicism and romanticism; the first to successfully abandon pretty tunes for richer mining in the emotional depths of the human soul. He was probably also the first musician to earn a living exclusively on a free-lance basis, unconnected with any court. Although he had his share of financial difficulties, Beethoven was never poor. Nor did he lack acclaim; his works being well received throughout most of his career. Vienna, indeed, was very fortunate to claim this pivotal talent as one of its own.

During the thirty-five years preceeding his death in 1827, Beethoven had a great many different addresses in and about Vienna, having moved no fewer than seventy-nine times. This was due more to his tempermental nature than to landlord problems, as is commonly supposed. While many of these dwellings no longer exist, a few have been preserved and four now contain small museums of his life. Our trip will visit those that are most significant in understanding the composer's genius. We begin in the elegant suburb of Baden, traveling mostly by tram through Vienna, and wind up in the wine-producing foothills north of the city, there to perhaps enjoy a glass or two of heurige in Beethoven's own backyard.

Before you start out on this delightful adventure, however, I would like to add one small disclaimer. In Beethoven's time accurate records were not always kept of the comings and goings of each citizen; it is therefore possible that a few of the places may be more legend than fact. The composer himself, perhaps from having moved so often, was rather casual about addresses, so that in two cases, that of the Baden House (4) and the Testament House (10), no hard evidence exists proving that he actually lived there and not in a neighboring building. Please accept both in the spirit of symbolic memorials rather than proven fact and enjoy their contents — which are genuine.

TRANSPORTATION:

You will be using streetcars — trams — for most of this trip, a colorful way to see most of the city at the same time. For the sake of convenience, and to save a few schillings, you should purchase a 24 hour transit pass, called a 24 STUNDEN NETZCARTE, at a local tobacco shop in Vienna. Validate it in the device provided on board the tram (or bus or in the subway station) at the beginning of the first ride, then retain it throughout the day.

The streetcar that goes to and from Baden — the BADNER BAHN — is privately owned and does not accept the pass. You will have to pay a cash fare both ways. If you have a Eurailpass or Austria Ticket, you can save money by taking the regular tram to the South Station (Südbahnhof), there boarding one of the frequent railroad trains to Baden. The insert map of Baden shows the location of both the train station and the terminus of the Badner Bahn.

TIME AND WEATHER:

This trip should be made in warm weather, between late April and late October, when the Beethovengang is at its most charming, the Heurigen are open, and the museum in Baden is operating. Everything is closed on Mondays, and the Baden Museum on Thursdays. Sundays and holidays present limited hours and little tram service. Therefore, make the trip on a Tuesday, Wednesday, Friday or Saturday. As little walking is involved, the day does not have to be particularly nice, so long as you are suitably equipped. Be sure to start out by at least 8:30 AM — the Baden museum closes at 11.

FOOD AND DRINK:

Upon returning from Baden, you will be in the area of the Opera (1) just in time for lunch. Within a few blocks are numerous restaurants of every description. After this, however, the pickings are slim until you get to the end at Heiligenstadt, where there are a few eating places as well as the charming café in the Beethoven House ar no. 2 Pfarrplatz (10), which also serves food.

THE TRIP:

Begin at the streetcar stop of the Badner Bahn on the Ring diagonally opposite the Vienna Opera (1), a central point that is easy to reach. There board the large and wonderfully old fashioned tram to Baden, paying your fare to the conductor. Passing along city streets, through suburbs, and finally open countryside, you will find the 70-minute journey to be both interesting and enjoyable. Upon arrival at the Baden terminus of the line, Josefs Platz (2), follow the insert map a few blocks to the Beethovenhaus (4) at no. 10 Rathausgasse.

If you have elected to take the regular railroad instead, begin your trip at the Südbahnhof station in Vienna, which can be reached from the Opera by the D line tram and from other parts of the city via tram, bus, Schnellbahn, or subway; all covered by the transit pass. There is no point in taking the regular train as opposed to the Badner Bahn unless you have a Eurailpass or Austria Ticket and wish to save a few dollars. Upon arrival at Baden Station (3) follow the insert map to the Beethovenhaus (4).

During the latter years of his life, Beethoven occupied several different houses in Baden, a town he favored for both its aristocratic atmoshere and noted hot springs, believing that exposure to the latter would alleviate his deafness. This faith, of course, was in vain and the great tragedy is that he never heard his own Ninth Symphony — although he sat with the orchestra at its premier. By tradition, the house you now visit is the one in which he wrote that consummate work. With a quiet simplicity characteristic of all his lodgings, this small museum speaks volumes about his life. To the casual observer, such tiny quarters seem out of place in light of his fame and social recognition. It must be realized, however, that Beethoven kept as many as four different apartments at the same time to satisfy his constant restlessness. As you now see it, the room is clean and tidy, quite the opposite of the slovenly conditions in which he always lived.

While in Baden it would be interesting to see some of this elegant resort town, so long favored by royalty. The short walks shown on the insert map will take you to the Casino and Kurpark (5), the main square, and back to either the Badner Bahn terminus (2) or the station (3).

Returning to the Opera (1) in Vienna, either board the D tram on the Ring in the direction of Nussdorf and take it to Schottentor, or walk there following Augustin Strasse and Herrengasse. The house at number 8 Mölkerbastei, known as the Pasqualati House (6), sits atop what remains of the old city walls. Beethoven lived here, on and off, for a total period of eight years, mostly between 1804-08 and 1810-14. The landlord, a Baron von Pasqualati, was an admirer of his and assisted him in legal matters. The apartment on the fourth floor, now a museum, is up a narrow staircase and has an excellent collection of Beethoven memorabilia.

Cross the Ring at the Schottentor underpass and follow Währinger Strasse a few blocks to Schwarzspanier Strasse. At this intersection board the G2 streetcar in the direction of Hohe Warte, in Heiligenstadt. As the tram runs along Döblinger Hauptstrasse keep an eye on the house numbers to the right. Get off at no. 92, just past Pokornygasse. This is the Eroica House (7), in which Beethoven composed much of his Third Symphony during the year 1803. Both the house and the neighborhood, once rural, have undergone great changes. The four rooms in which the composer lived have been recently restored to their original condition and may be visited. A small collection of keepsakes is displayed.

Return to the streetcar stop and continue on by tram in the same direction to Hohe Warte, the end of the line. Get off and walk straight ahead on a footpath into Heiligenstädter Park, where you will find a remarkable monument (8) commemorating Beethoven's stays in that village. Turn left on Grinzinger Strasse and follow it two blocks beyond the church to no. 64, the home (9) in which he composed his Sixth Symphony, the Pastorale, in 1808. It is not open to the public but its exterior is much the same as it was in those days.

Return to the intersection by the church and turn left on Armbrustergasse, then make a right onto Probusgasse. Enter the doorway at no. 6. In the courtyard there are two small museums (10), both up short flights of stairs. It is traditionally assumed that this is the house in which Beethoven wrote his profound Heiligenstadt Testament of 1802, a letter to his two brothers in which all of the grief and despair brought on by ever-increasing deafness is poured out in an emotionally charged document. Be sure to read the English translation.

Continue along Probusgasse to Pfarrplatz, where the house at no. 2 (11) is now a heurigen, serving both new wine and food. The composer lived here in 1817. Although the rooms cannot be visited, you may very well enjoy sitting at one of the tables in the courtyard and trying the local product. But first stroll a few blocks up the quiet Eroicagasse to the Beethovengang (12). Here a footpath to the left follows a tiny brook in a setting of rural tranquility, along which the immortal musician often strolled, gathering the strength that manifests itself in his work. At the end you will find the earliest memorial to his genius, erected in 1863.

Retrace your steps to the Eroicagasse, at which point you can either return to Pfarrplatz for some wine and food, or continue along the stream to Nussdorf (13), the end of the line for the D tram, which goes back to the Opera (1).

AGAIN, please remember that I wrote this nearly 30 years ago, so some changes must be expected. If you intend to make this trip yourself, be sure to check locally for up-to-date information. This is especially true concerning transportation.

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The Avedon Years, Part XV

Previously on this thread...

MY FIRST EXPERIENCES AT WRITING FOR PAY

Long before trying my hand at travel guides, I had a brief career of  writing technical articles for photography magazines. This began in 1964, when I still worked for Richard Avedon, and lasted into 1967 after which our studio became busy and I no longer had the time. As studio manager for Avedon and later with my own business, I had contacts with professional equipment manufacturers and distributors. One of these, Fred Thomas of the Thomas Instrument Company, suggested to a trade journal named Photographic Product News that I should write for them as I was familiar with the latest trends in studio equipment and techniques. Avedon was okay with this and even allowed me to use some of his pictures as illustrations. And so it began.

In those pre-computer days we used a long-forgotten device called a typewriter to put words on paper. I was familiar with these even as a child in the 1940s since I had an old one called an Underwood on the desk in my bedroom. And most of my time in the U.S. Army was spent pounding the keys of a Remington manual. Later, around 1960, I had purchased a Smith-Corona electric portable for personal correspondence, and this turned out to be all I needed for writing articles.

My first effort, which appeared in the November-December 1964 issue of Photographic Product News, was called MOBILITY IN STUDIO LIGHTING! and discussed the various techniques we had worked out in using moving strobe lights with moving subjects — mostly with an 8x10 Sinar camera. Not only did it look great in print (a snippet of it is above), especially illustrated with an Avedon fashion shot from Harper's Bazaar, but it got me more assignments and a nice check. A year later I did a similar article called LIGHTING ON THE RUN for Popular Photography Magazine, aimed more at their amateur audience. This also used an Avedon photo as well as one of my own as illustrations. I will be elaborating on this technique in a future posting, so stay tuned.