Life's Little Adventures

On Being an Assistant Photographer

 

What's Expected of You

Here I'd like to discuss just what it takes to become an assistant to a talented photographer such as Avedon. Especially as a learning experience, and as an apprenticeship before heading out on your own.

The first, and most important point, is to choose your mentor carefully. It should be someone whose work you really admire, and from whom you can learn. To assist the wrong photographer will just be time wasted. Preferably someone located in a major city that is home to various media (magazines, ad agencies, etc.) — Americans should think New York or Los Angeles, Europeans London, Paris, Milan, or Berlin. Places that are hotbeds of creative activity.

The first lesson, therefore, is: Determine who you want to work for and pursue them. Relentlessly.

A second consideration is to make a list of ways in which you can make yourself most useful to the photographer. Some obvious choices are:

• Hardworking.
• Dependable.
• Willing to take direction.
• A strong body that can lift stuff.
• A good, safe driver with a clean record.
• Handiness with tools, paintbrushes, etc.
• Ability to do minor repairs.

Some valuable traits are:

• A well-rounded education, especially with some knowledge of the arts and philosophy.
• Ability to anticipate needs and act without having to be told what to do.
• Ability to live within your means, without becoming a burden. Face it, you're not going to make much until you acquire real skills.
• A good appearance. You are representing the boss. Look it.
• Good language skills, especially English. A smattering of foreign tongues wouldn't hurt, either.
• A good conversationalist.
• Computer savvy.
• Curiosity about the world around you.
• Lastly, a burning passion for photography; a real fire in the belly.

Notice that I said nothing about being a talented photographer. You're there to learn and assist the photographer, not to take the pictures. In the past, darkroom experience would have been a valuable asset; today it would most certainly help to at least be familiar with Adobe Photoshop.

And if you get the job, don't blow it!

The worst case of missed opportunity I ever heard of actually happened in Avedon's studio back in 1965. An international service club had a program of finding trainee jobs for talented but impoverished youth. Avedon agreed to take on a young guy from an underprivileged background and train him in studio ways, paying him a modest wage. He showed up the first day full of enthusiasm and really tried hard to please. We were quite happy with him. The next day, however, he never came to work. Concerned that something might have happened to him, we called his mother. She answered that he just didn't feel like working today, so that was the end of his brief employment.

Another one occurred in 1960 when a trainee decided that a weekend social engagement was more important than assisting on a sudden, unexpected weekend photo assignment. He was told not to return. As long as you are a junior assistant you are expected to be available at any time.

Some other things that could nip a career in the bud are:

• Displays of personal drama. Be cool.
• Taking attention away from the boss by showing too much personality, dressing too sharply, or otherwise being too noticeable. Be invisible at times.
• Contradicting the boss in front of clients. They won't have much confidence in him if even his assistants think he's wrong.
• Allowing your cell phone to ring during jobs. Turn it off.
• Asking stars and VIPs for autographs.
• Being a pest.
• Ordering the most expensive food and drink when dining out with the boss and/or clients.
• Taking your own photos while the boss is taking his.

IS THIS ASKING TOO MUCH? If you think so, you may be better off pursuing a different career.

ANOTHER APPROACH, and for some a better one, is to set yourself up as a FREE-LANCE ASSISTANT, working by the day or job. This allows you to learn from different photographers with varying techniques and to get a better oversight of the entire business. The downside is that work only comes when the photographers' own staffs cannot handle the load, and that there will be dry periods of no income during which you can work on developing your own portfolio. It helps to have worked for a well-known photographer who will recommend your services to others.

 

RIGHT NOW I'm looking to tell my whole story, the whole unvarnished truth about Photography's Golden Age, as the basis for a book, e-book, or documentary. Interested? Leave a comment below and I'll get back to you.

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The Resurgence of Film Photography

The current (April 2013) issue of Shutterbug Magazine features a lengthy and quite thorough article subtitled "Silver Halide...Still Gleaming?" about discoveries at Photokina 2012 in Cologne, Germany, featuring a real resurgence of interest in "real" photography — the kind with film, darkrooms, and chemicals as opposed to digital. Not only are there new film cameras, there are also new B&W films to put in them! And enlargers for making the prints, as below:

Probably no 20th-century photographer was more renowned for his Black & White images than Richard Avedon (1923-2004), who I assisted from 1952-1956 and 1959-1965. Although he certainly did work in color for fashion and advertising jobs, it was his stunning Black & White photography that made him world famous. 

 

NEW:

Photography's Golden Age ended long ago but remains very much alive in my memory. Now, at the end of 2015, the time is ripe for me to reveal all that happened during Avedon's most creative period. Tales of personalities, motivations, intrigues, and even the fine details of how it was all done. 

What I need to realize this is a co-conspirator to aid in getting the whole, true, uncensored story published -- either as a book, an e-book, or even a documentary.

Anyone interested? Leave a comment and I'll get back to you.

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The Eye Has to Travel

Pizzazz! Divine! The 2012 movie "Diana Vreeland: The Eye Has to Travel," which just came out on DVD a few days ago, has really taken me back into the milieu inhabited by Richard Avedon during the years that I assisted him, 1952-1965. To watch this documentary, made from period clips, is to understand a great deal more about the world he moved in. There are interviews with him, and clips from the 1957 feature film "Funny Face," loosely based on his life — in which the imaginary role of Avedon was played by Fred Astaire and that of Diana Vreeland by Kay Thompson.

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A Forgotten Heritage

King of the Movies

 

  Long before there was a Hollywood there was a thriving movie business in and around, of all places, Philadelphia, Pennsylvania. One of the largest film studios in the world operated there between 1910 and 1916.  Originally located in the city proper, Lubin Studios later expanded to a 350-acre spread at Betzwood next to the Schuykill River and adjacent to what is now Valley Forge National Park, just a few miles down the road from my home. Despite its size and immense output of over 100 films, this has long since fallen into the dustbin of history. So imagine my surprise when I recently heard of this heritage on a local TV talk show as I was waiting for another program to begin. Click on photo to enlarge. 

 

One man, Joseph Eckhardt, a retired professor of history at Montgomery County Community College, changed all that. His book, King of the Movies, traces the history of one Siegmund Lubin (1851-1923), a colorful character if ever there was one. At once a pirate, a prophet, a con-man, a philanthropist, and a successful capitalist, Lubin was one of the very first movie pioneers. His story makes for some engrossing reading.

A MYSTERY SOLVED:

Joe’s book also solves another perplexing mystery that has haunted the Valley Forge National Park’s administrators for decades. We were all taught that no battle was ever fought there; that it was just a winter encampment for George Washington’s army during the Revolutionary War. But how to explain the authentic Civil War artifacts that have occasionally turned up on the property? Bullets, pieces of guns, uniform belt buckles? Was a Civil War battle ever fought here? Not according to the record. Well, it seems that Lubin made several Civil War films at this location, and had purchased surplus gear from the 1860s — which was readily available and cheap at the time — to use as props in his productions of the 1910s. And didn’t clean up the “battlefield” afterwards.

THE KILLER FILM:

A serious problem facing those restoring Lubin’s movies, or any others from that era, is the explosive nature of nitrate film. Yes, this stuff can ignite itself as it deteriorates from age, burns furiously, and can actually explode under the right conditions! Later replaced with “safety film” (which cannot burn), nitrate film had to be handled with due care, and required fireproof projection booths to protect audiences. As the film decomposed from age it also lost much of the image detail, making modern restorations difficult and sometimes impossible.  A 1914 nitrate-film fire at Lubin’s Philadelphia studio destroyed the original negatives for several unreleased movies, nearly bankrupting the company. 

 CLICK HERE for an interesting short video about Lubin. 

CLICK HERE for the PBS History Detectives program on Lubin and Betzwood. It is the second story on the show; you can go right to it by clicking on the fourth little image at the bottom.

CLICK HERE for Professor Eckhardt’s website on Lubin.

VISIT Nearby Lansdale.

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SO, just what Little Adventure am I up to now in 2013? Why, just the most challenging one of them all! CLICK HERE TO FIND OUT.

 

CHECK OUT the book King of the Movies at Barnes & Noble or at Amazon by clicking on its title in the box below: 

A Long-Forgotten Photographic Process

The other day I was clearing out a storage room and came across a box of photos that I had taken between about 1946 and 1952. Pictures mostly of my schooldays, family, and friends. All, of course, in glorious black-and-white as I had my own darkroom from the age of 12 on. But among them were three color prints, obviously of the same vintage and made by me. How did I manage that?

A fourth print, too awful to show anyone, explained all. That little reminder opened up memories of the time in 1951 when I messed around with a magical darkroom process that actually converted black-and-white photos into full color. And not by painting them. Here’s the story:

In 1949 the Eastman Kodak Company announced its new Flexichrome color process, which used dyes in a gelatin-relief matrix; a logical outgrowth of its magnificent dye-transfer process introduced a few years earlier and discontinued in 1994. This earlier process made prints from color transparencies such as Kodachrome and used three matrices, one for each of the primary colors. The results are still regarded as the finest color prints ever made. 

Flexichrome, on the other hand, began with black-and-white images printed onto a single sheet of a special “relief stripping film” coated with a gelatin matrix. After processing in a special developer containing a tanning agent that hardens the darker portions of the gelatin coating, the image is bathed in hot water. This causes the gelatin that was not hardened, i.e. the lightest areas, to be washed away. What we now have is a bas-relief of mountains and valleys corresponding to the photographic image. 

The film is then run through bleach, completely removing the visible photographic image. This is soon restored by bathing the film in black Flexichrome dye. Since the highlights are the valleys, they do not absorb much dye. The thicker areas, however, absorb dye in accordance with their thickness. The film is again subjected to hot water, loosening the emulsion from its base. Carefully, this is stripped off and transferred to a pure white paper backing, then dried.

The print is now ready for coloring. 

A curious thing about Flexichrome dyes is that they replace each other. The last dye washes any earlier one right out of the gelatin. If you put, say, blue over a yellow image you do not get green, but only pure blue. So you begin coloring with broad strokes on the largest areas, overlapping into other areas. Only at the end must you be especially careful, and even then any errors are easily corrected. Excess dye is blotted away.

Back in its day, Flexichrome was an elegant solution to a problem that had long plagued professional photographers. Large color films were “slow,” requiring a lot of hot light and long exposures. This was even worse a few years earlier, when commercial studios used “one-shot” cameras producing three black-and-white negatives, each corresponding to a primary color. By shooting a single image on fast black-and-white film both time and money were saved. This image could then be colored any way desired, and any colors changed at will.

But soon after that professional color films such as Ektachrome were improved so much that the Flexichrome process no longer made sense, and it soon fell into oblivion. Today this curiosity has long been forgotten.

The first Flexichrome print that I made in my basement darkroom back in 1951 is the portrait of a lady near the bottom of this posting. This was included as an exposed but undeveloped film in the Flexichrome kit for the purpose of learning the process. I took it through all of the stages and then applied the colors. The one of a young lady’s face surrounded by black is my own doing, and the one of a handsome young man is actually my high school portrait, taken originally in black-and-white by a local studio.  

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Copyright © 2010 Earl Steinbicker

 

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SO, just what Little Adventure am I up to now in 2013? Why, just the most challenging one of them all! CLICK HERE TO FIND OUT.

The Avedon Years, Part XLVII

A wonderful article about Richard Avedon, focusing mainly on the time when he was solely responsible for creating an entire issue of Harper's Bazaar magazine back in 1965, is featured in the current (December 2009) issue of Vanity Fair magazine. 

This lengthy and well-illustrated piece was written by David Michaelis, who had previously authored full biographies of N.C. Wyeth and Charles Schulz, and appears on pages 184 through 202. Of the eleven photos included, I was the prime assistant on these four:

• Page 196, portrait of Beatle Paul McCartney in a NASA spacesuit, London 1965.
• Page 194, Avedon at work photographing civil rights marchers, Atlanta 1963.
• Page 199, Harper's Bazaar April 1965 cover, with Jean Shrimpton and blinking eye (photo, right).
• Page 202, Paparazzi scene at Maxim's with Suzy Parker and Mike Nichols, Paris 1962.

Earlier this year I was interviewed by the author for this article, "The Now of Avedon," and have been eagerly awaiting it, especially as I am mentioned briefly on page 200 in connection with a strange event in London involving Richard Avedon and Beatle Ringo Starr.

 

 

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The Avedon Years, Part XLV

 

In Cold Blood

 

A recent viewing of the 2005 movie “Capote” brought back memories of an odd chapter in Dick Avedon’s career. It was in April 1960 that Dick traveled alone to Garden City, Kansas, for a meeting with author Truman Capote (1924-1984), who was there researching material for a fact-based novel about one of the most savage multiple murders in American history. The final result, published in serial form in The New Yorker magazine in September 1965 and as a book in January 1966, was entitled In Cold Blood. 

 

Dick’s connection with Truman Capote went back to their early 1959 collaboration on Observations, a handsome book of photography and prose. I was away in the Army at that time, but upon returning to civilian life at the end of the year was given an autographed copy by Dick as we discussed the possibility of my working for him once again, which I did.

 

Avedon’s role in this strange 1960 undertaking, a self-imposed assignment, was to do portraits of everyone involved, from the police to the murderers themselves, and to capture the atmosphere of the crime scene. This he did without assistance using just his Rolleiflex TLR and 35mm Pentax cameras. The image to the right is Avedon's portrait of one of the murderers, Richard Hickock, taken in the Kansas jail on April 15, 1960. 

How would these strange New Yorkers be received in small town Kansas? Well, Capote was there some four months earlier with fellow writer Harper Lee so the locals were already used to his eccentricities and had come to accept him. Avedon by contrast was so “normal” that he could almost have passed off as a Kansan himself.

Upon Dick's return to New York I developed the film and made prints from the negatives. Those images of the two murderers have haunted me ever since. The story goes like this: Two drifters meet in jail and are soon released on probation; they plan to rob an isolated Kansas farmhouse of a rumored fortune in cash, liquidating the entire family to make sure there are no witnesses. The brutal slaughter of the Clutter family was carried out on November 15, 1959. Ironically, there was little money, and the murderers left almost empty handed. In January of 1960 they were apprehended in Las Vegas and brought back to Kansas for trial.

Capote’s interest begins after reading a small article about the crime in the back pages of the New York Times in November 1959. At first he planned only a short story but after getting to know the jailed murderers decides on a full major work. An agreement with his publisher is reached by April 1960, when he asks his friend Avedon to meet him in Kansas to make a photographic record of the events. 

Dick’s involvement only lasted a few days, but Truman lingered on in hopes of getting critical anecdotal information from the accused for his book. The trial was soon held, resulting in a guilty verdict and a sentence of death by hanging. Capote, by now strangely attracted to one of the murderers, Perry Smith (police mug shot, right), funds their appeals — a process that drags on for five years. Finally, all appeals exhausted, on April 14, 1965 both are hanged, with Capote as an official witness at the gallows.

At last, Capote could finish his book.

Quickly completed, the book gave birth to a new style of literature in which the lines between fact and fabrication are blurred. In Cold Blood is neither reportage nor fiction, but a hybrid in which truth is embellished for dramatic effect.

During the interim Capote, who had little or no knowledge of photography, purchased a Rolleiflex camera identical to the ones Dick used and asked him to teach him to use it. This task was given to me, and I spent a few sessions instructing the author.

By September of 1965 the book had been edited and typeset. Capote dropped off the complete set of galley proofs at Avedon’s studio and left them there overnight. Fascinated, I stayed nearly all night reading the text.

In Cold Blood was serialized in The New Yorker magazine beginning on September 25th, printed as a book later that year, and released in early January 1966. It soon became a best seller and has gone through numerous editions ever since. On January 7, 1966, LIFE magazine published a major article entitled “Horror Spawns a Masterpiece,” illustrated with Avedon’s photos from that trip to Kansas in April 1960. Some of these same photos later appeared in various museum exhibitions, and in Avedon’s 1994 book Evidence.

The movie version of In Cold Blood opened in 1967 to critical acclaim, but it could not halt Capote’s downward spiral into drug addiction and alcoholism brought on primarily by the emotional stresses of the whole affair. He died in 1984.

In  2003 Avedon helped coach actor Philip Seymour Hoffman in his portrayal of Truman Capote in the movie Capote, mostly in getting the gestures and voice right. Unfortunately, Dick never saw that film as he died in 2004, months before it was completed.

In this film the brief role of Dick Avedon (screen shot, above) was marred by a serious error involving the camera Dick supposedly used, a Hasselblad (screen shot, right). Dick never used a Hasselblad until much later in his career. His portraits of the murderers and others involved were all taken with a Rolleiflex 2.8E. Also, the Hasselblad in the film lacks a sunshade, a big no-no, and it was a model not even available at that time. His method of softly manipulating the subjects does seem genuine, however. 

The following year, 2006, Infamous, another film on the same subject as Capote and covering pretty much the same story, was released. Infamous is somewhat more violent and more explicit in the sexual attraction Truman Capote felt for the condemned murderer Perry. Although the 2006 film does not even mention Avedon, it does have actors playing the roles of some of Dick’s closest friends.

Text copyright © 2009 by Earl Steinbicker.

  

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NEW:

Photography's Golden Age ended long ago but remains very much alive in my memory. From 1952 through 1965 I was an assistant to Avedon during his most creative period. Do I ever have the stories to tell! Now, near the end of 2015, is the time to reveal all, while I'm still alive and kicking. Tales of personalities, motivations, intrigues, and even the fine details of how it was done.

What I need to make this project a reality is a co-conspirator to aid in getting the whole, true, uncensored story published -- either as a book, an e-book, or even a documentary.

Anyone interested? Leave a comment below and I'll get back to you.

Converting Super 8 to DVD

Way back in the late 1960s and early 1970s I got smitten with the movie bug and experimented with the idea of making travel productions for use on cable TV. This never really panned out, and the results have been sitting in a closet ever since. Until now. Two weeks ago, feeling a bit flush, I took one reel of about 250 feet to the local chain drugstore to be scanned and converted to DVD format for viewing on a TV or computer. The total cost was about $50, and well worth the joy of once again reliving a fun trip we made in 1970 to do fashion photos in Jamaica for McCall's Magazine. Here are some still capture frames that are not very sharp, but fun anyway. 

 

 

 

 

 

 

The above frames depict fashion designer Giorgio di Sant' Angelo with models Zaki and Pia; the three on a donkey cart being photographed by my partner, Jim Houghton; Jamaican tourist official Marcia Robinson on a donkey; and photographer Jim Houghton.

And here is a very short excerpt from the video. It looks pretty awful, but we had fun that week:

 

CLICK the left button to start the show. The center slider adjusts volume. For full screen size, as soon as the first image appears, right-click on it, then on Zoom, then on Full Screen. NOTE that the full, 12-minute DVD, when viewed on a TV set, is MUCH sharper than what you see here.

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Interested in photography? Check out my "Assisting Avedon" app for iPhone/iPad here: https://itunes.apple.com/us/app/assisting-avedon/id584943280?mt=8

 

SO, just what Little Adventure am I up to now in 2013? Why, just the most challenging one of them all! CLICK HERE TO FIND OUT.

Last Year at Marienbad Redux

People either hate or love this hypnotic 1961 movie — there is no middle ground. It has long been regarded by some as the highest of high art, by others as the most pretentious p.o.s. ever made. Until now, there was little possibility of checking it out for yourself as it was only available on a badly-made VHS tape or the even worse DVD derived from that tape. BUT NOW (summer 2009) the good folks at Criterion have fully restored it on a stunning two-disc set with beautiful, haunting images composed with rich, silky blacks and luminous whites. Fans of black-and-white photography will thrill to the tonalities here, even if the plot escapes them. Reminiscent of 1930's fashion photography (think Chanel), it features exquisite lighting and careful compositions. All of the dialog is in French with English subtitles, and the original name of the film is L' Année dernière à Marienbad.

The story, such as it is, depends completely on the viewer's imagination and participation as a co-author. You only get out of it what you put in. If, like me, you are content with absorbing waves of gorgeous images enhanced by an appropriate musical score, you won't need a plot. Otherwise, it might go something like this: Character X, a handsome male member of Europe's idle rich, meets Character A, a stunning young lady at an unnamed aristocratic spa rich in baroque décor (photo, above). He tries to convince her that they met before, possibly last year, at another spa, perhaps Marienbad (now Mariánské Lázne), and they possibly had an affair. Enter Character M, who might be A's husband, or lover, or not. An allegorical game, at which M could lose but never does, may or may not play a pivotal role.

Past and present, memory and reality, fact and fiction are juxtaposed without transition or explanation. So, it's up to the viewer to make some sense out of it, or just lay back and let the haunting images wash all over you.   

I saw this film at a small art house in Greenwich Village on, I believe, West 8th Street between Fifth and Sixth avenues, in 1961 or possibly '62. Soon after that I purchased a book (photo, left) of the text for the film for the princely sum of $1.95. Although quite battered, I still treasure it.

Finding myself in Munich a few years later, I visited Schloss Nymphenburg, where much of the 1960 filming was done, especially the famous scene in the gardens (photo, below) in which the trees, statues, and other fixtures cast no shadows while the people cast long ones. How this was done is quite simple; it was shot at high noon and the actor's shadows were painted on the walkways. Obviously, the actors could not move, and the scene is quite short. At the time I was playing with a new toy, a Fuji Single 8 movie camera loaded with grainy black-and-white film, attempting to capture some of the old magic.

The new (2009) Criterion set contains a second disc featuring recent interviews with director Alain Resnais and others, a half-hour "making of" documentary, a critical analysis, and two short earlier films by the same director.

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A Fond Farewell To Kodachrome

After a 74-year run, Kodak's classic color film is being retired. For good. And with honors. I will miss it.

This, even though I haven't used any in nearly three decades. 

 

Kodachrome images of my childhood from the late 1930s still survive with all their bright, saturated colors intact. I grew up with this stuff in the 1940s and 50s, and used vast quantities of it during my previous career as a professional photographer. Photos I took of Japan during my stint in the U.S. Army from 1957 through 59 are as good today as the day they were taken, long after slides on other color films have faded.

 

To fully appreciate Kodachrome's incredible quality and its impact on the world of images you must dig a little into the history of color photography. Although experiments in adding hues to photos began in the 1840s, the first commercially viable process was Autochrome, invented by the Lumìere brothers of France in 1903. This was soon followed by another French system, Dufaycolor, in 1908. Both were "additive" processes made up of microscopic bits of solid colors deposited on a glass plate. By 1932 these emulsions became available on a flexible film base, suitable for use in movies and regular amateur cameras. While the resultant photos could be quite lovely, they fell apart when substantially enlarged as the individual color dots became apparent. The glass plates also required a great deal of exposure and were difficult to view. 

 

In the mid-1920s two professional musicians who were long fascinated by the idea of color photography, violinist Leopold Godowsky Jr. and pianist Leopold Mannes, met an important scientist employed by Kodak. He arranged for them to be financed in their experiments, which by 1930 had led to a viable two-color movie film. They then became employees of Kodak and by 1935 had perfected Kodachrome, a three-color "subtractive" process that consisted of three Black & White emulsion layers, each representing a primary color. These were then dyed during development. This singular fact is what has for 74 years given Kodachrome such pure colors and such longevity. It also made Kodachrome incredibly complex to process, a service that for years could only be done by Kodak itself, and later by only a few laboratories.

 

The new Kodachrome was first marketed in 1935 in the 16mm home movie format, and in 1936 in 8mm as well as in 35mm and 828 roll-film sizes for amateur still photography (photo, left). Later it also became available as 120 roll film and 4x5 sheet film for professional use. Initially it had a "speed" equivalent of ISO 8 in today's terms, but later versions had "speeds" of 25, 40, 64, and 200.

 

One frame of 35mm Kodachrome, when digitally scanned, contains the equivalent of 20 megapixels of data, resulting in an exceptionally high-definition image suitable for considerable enlargement. This, and the purity of its colors, is why it became a favorite among professional photographers.

 

Over the years, however, other color films by Kodak, Agfa, Fuji and others had improved to the point of being almost (but not quite!) as good. These could be easily processed by the user or by small local labs. Consequently, Kodachrome sales declined — and then came the digital revolution. Yesterday, on June 22 2009, Kodak announced that no more will be made and that current stocks should last until about Fall of this year. Processing will be available until the end of 2010.

 

So, thank you, Kodachrome, for all the wonderful color you brought into our lives.

 

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