Long Overdue Book Review: Beyond the Fall by Anthony Suau

It was recently brought to my attention that the World Press Photo of The Year for 2008 was taken by a photographer named Anthony Suau.(With Leica and Tri-x by the way.)

Now when I started in photography, back around the 1990 time frame, this guy was at the top of the photojournalism game. Pulitzer Prize, Capa Medal, etc, etc, so I've known about him for a long while and known him to be a great photographer, so seeing his name in the winners column of World Press was no surprise.

It also reminded me that I had several of his books, his "Beyond the Fall," as well as a more recent book regarding politics, the name of which escapes me.

So, seeing as his name was fresh in my mind, I thought it a great time to revisit his work, and his books. Moving to my bookshelf I pulled down "Beyond the Fall," and took a gander.

People, this is a great book. I mean a really great book. This is perhaps one of the best reportage books I've ever seen. It's not like I didn't know this, but it has been some time since I have seen these images, these pages, read these notes.

I've seen a lot of reportage books since I bought Beyond the Fall, and frankly, the vast majority of them pale in comparison to this book.

What got me right off the bat was, "1989-1999." Ten years folks. Ten years to make these images.

Now legend has it, back in the day, ten years was the cut off time for those making books. A photographer would work for approximately this long before taking on the idea of creating a definitive and final book impression of the story. Obviously, not everyone managed this, but a fair number did, and there is absolutely no way to substitute for that much work and time.

With each turn of the page I heard myself say, "Oh, I'd love to have that print."

This book covers the former Soviet Union in transition, over a ten year period, and I'm talking virtually all aspects of life. You have politics, war, family, commerce, health care, history, landscape, and all not just done, but stamped with his point of view.

This book is almost all black and white, and looks to be done with just a lens or two. There are so many fantastically layered images, it could be used as a teaching aid on how to properly use a wide angle lens. And, there are many images that are more art than reportage. Yes, I said it. They are fine art images, masquerading as reportage. You have any idea how difficult this is?

What I see in these images is an intimacy you just don't see that much anymore. It's probably the time in the field, his access and his ability, coupled with a real understanding of place, culture, history and transition. I don't know if I've ever had this type of relationship with a project, which really sucks, but just means I have to work harder.

I'm pretty sure one of the reasons we don't see much of this work today, or projects of this scope, is because the industry won't support it. Budgets have been hacked, deadlines have been shortened. advertising has been lost. And, advertisers are controlling content more than ever before. Most American advertisers probably aren't thrilled to see this type of work in an issue with their ads, hence the infrequent use of reportage on the cover of major magazines. Celebrity sells much better, so does just about ANYTHING else that is safe, homogenized, colorful, etc.

Each section of the book could be a book in itself, which is really what we do see more of today. Pieces of the puzzle, but rarely are we given the entire puzzle to sit with, contemplate and put together.

Looking at the pictures from Grozny I found myself wanting to find Suau online, just to pick his brain about the story behind the photographs. I could say the same for the quiet moments of Yeltsin alone in the Kremlin. "How did you GET IN there?"

Looking at these images I was taken back to the Romania stories of the early 90's, the war in Bosnia, the turmoil of the region, and could see that Suau was there every step of the way.

If he never snaps another image, ever again, the work in this book, in my mind, cements him as one of the best American documentary photographers.

What is truly mind-blowing to me is how little I hear about this guy. Okay, I live in Orange County, but even still, that shouldn't matter THAT much. I have a feeling, and I'm making this up off the cuff, he is a guy that just does his thing and probably doesn't spend a lot of time telling people how great he is, which is the modern method of becoming a legend(Monday I will begin my great crusade of self promotion.). If you tell people long enough how great you are, inevitably there will be some takers. No, I have a feeling he is out shooting. I just wish I could see more of what he was doing.

I think, in short, this book is a lesson to all photographers, a reminder of where the bar has been set.

Revisiting this book is, for me, is an exciting trip, like taking a voyage through history with someone who had a front row seat.

UPCOMING BLURB WORKSHOPS

Hey Campers,


I wanted to let everyone know about the upcoming Blurb workshops. A great series, with some fun people showing fun things.

SUBJECT: Blurb Photography Book Workshop series

This June we’re hosting the Blurb Photography Book Workshop series, featuring photographer Dan Milnor, graphic designer Bob Aufuldish, and Lightroom guru Jerry Courvoisier. In these 4-hour workshops you’ll learn about the principals of book design, editing your images in Lightroom for optimum results, and how to use Blurb books to promote your work.

You can also participate in a photography book review prior to the workshop. Having your work reviewed is NOT a requirement to attend the workshops. Once you purchase a ticket for the photography book review, we’ll contact you to set up a specific time to review your work.

Photography book reviews begin at 4:00 pm; the workshop kicks off at 6:00 pm (expect it to last until about 10:00 pm).

All the details are below, and we hope to see you there.

San Francisco – RSVP at http://blurbworkshopsf.eventbrite.com

New York – RSVP at http://blurbworkshopnyc.eventbrite.com

London – RSVP at http://blurbworkshoplondon.eventbrite.com

Chicago – RSVP at http://blurbworkshopchicago.eventbrite.com

3000 Miles

I love walking in some place and seeing my images. Sometimes this happens in "wall form" where an image is hanging in someone's house, an office, a space of some kind. Other times it happens in book form, or in my case, "Blurb Form," a form that is rapidly becoming a household description.

In this case, 3000 miles from home, a softcover, 8x10, vertical format, mix of color and black and white.

I like to see where the book is, precisely where it lives in the house. And, how worn the pages are. I don't want books that are delicate, fragile or too expensive to actually leave out. I want a book you can't imagine leaving alone. I want books you leave out for everyone to see, to handle, to wear out.

Even though this was my book, I looked through it over and over. It was just the right length, a tight edit. Shot over several years, in at least four different formats.

I'm going to order one for myself when I get back.

Blurb 5x8 Format Books

Okay, a DP I am not, so still learning this little device, but wanted to post and see what happens. These 5x8 books are fantastic, and have been well received at every event I have done. They are a blast to make and cheap to produce.

Watching myself on this I have a feeling of horror, and a small dose of Mr. Rodgers. Hopefully I will get over this. Otherwise, I'll be looking for a stand in.

Traces

So yesterday afternoon I had a shoot. I arrive a little early, snoop around, scout, etc. I'd shot at this location many times before, but you never know what has changed, so I like to have a little look around.

Thinking back now, I think I counted 12 of my images on the walls of the house, some small 8x8's, but many of these images were 16x20 and larger.

For me, this is a great feeling, knowing that my pictures are an integral part of the family's life. Not everyone is interested in putting images on the wall, but I've written about this many times before, that for me, this is why I shoot portraits. Books and prints.

Viewing work on the computer, for me, is just not where it's at. Electronic views are fine for the short term, but I want pictures that we want to live with.

A great picture is a like a great song, something you can look at or listen to many, many times over. And, hopefully, they get better with age.

So, as I continued my tour, I also found my book on the coffee table. On top. Love this.

New Book: Maroc

MAROC

By Daniel Milnor

Book Preview

Just posted this baby up.

Am loving these small books, and based on the response I've had when showing them around, so do others.

I See You

A few days ago I was drilling holes in my library wall in an attempt to install new bookshelves for my rapidly growing photo-book collection. I'm not exactly skilled at home improvement, so this simple gesture took all of my concentration.

By some miracle it worked. I hit the studs, the screws hit home, the shelves held, and as of a few hours ago, my books were still standing.

After the shelves went up, I slowly began to gather the stacks of books and place them on the shelves.

I noticed something that stuck with me throughout the day, the night and into the following day, like that cloud over Pigpen in the Peanuts cartoon. First, I should have made more shelves...idiot!

I also realized that my favorite books, and the photographers who made them, all had something in common; an immediately recognizable style.

All I needed to see was the image and it unleashed the power of their individual style, regardless of anything else.

Moriyama, Webb, Salgado, Mann, etc.

When I see these names, see their images, hear their names, it instantly creates a legion of imagery in my mind. Like fingerprints in their uniqueness. Like memories.

Now you might think this is an obvious point, but I don't think it is. Today there are photographers working who have this distinctive look and feel, but there are fewer and fewer of them, and if I had to guess, the future will reduce this number even more. And, some of the most successful of the current crop really don't have any style at all. Or perhaps their style is that there is no style, which can be said of cultures as well, some of which are thriving in this fashion.

Even Bruce Lee, when cornered on the boat on the way to Han's secret island, replied, "My style?" "You could call it the art of fighting without fighting." What? What he meant to say was, "I'm going to try my best to remove your head," but doing this could have jeopardized his employment at the tournament of death. When being hired to do battle perhaps you want to remain below the radar until you are called upon. Same is true for the photo world????? (This was a kick ass analogy. Get it? Come on, kick ass??)


I'll give you a photo case study. Me.

I printed in the darkroom the other day and created six new pictures. After I was done printing, and was in the process of the great, final wash, I realized these images looked like they could have been done by six different people.

Perhaps in some way, this could be a good thing, but I think overall, it isn't. It took me years to really figure out what my style was, years of trial and error basically. I do like different looks and formats, but I know what my style would be if I had to shelve everything and choose one thing.

I probably won't have to do this, but you never know. Being a photographer today, a real one, is so damn difficult, and with the current economic situation, it will only get harder, and a part of me thinks that perhaps the only thing that will survive is our true style. And a part of me thinks this is the way it should be.

I think with all the different kinds of work I have done in the past ten years, I've really lost a good portion of my style. I think the ONLY way to get it back is time in the field, time ALONE and time NOT on assignment, not connected to the constant chatter of the social networking sites, the blogs, the cell phone, etc, and return to the idea of disappearing into your mind and your vision.

I think sometimes we think you can make up for this stuff with gadgets, gear, post production, shows, press, etc, but I frankly believe this is pure charade.

When you strip everything down you are left with only the images. The tricks of today are the laughter of tomorrow, but when something is really strong, it stands alone, in need of nothing other than the viewer.

Images like this don't happen often, and can't be created later. They just happen, and typically, when they do, you know it. You don't need to see it because that 250th of second becomes a part of your soul.

So as I look into the near and distant future, I wonder to myself what it is I REALLY should be doing. Should I shelve the distractions, both photographic and otherwise, and commit to rediscovering my path? This is far easier said than done, but I have to consider it.

I'm older now, have responsibilities, so the layers of doubt, of question, of fear are far more complex and powerful than ever before.

I realize I've skirted the edges of the cliff that leads to "content" and know I would rather never photograph again than walk further into this style of photographic being where the bulk of images flash across your retina but never make the trip to your brain.

However, I did just read, I think, somewhere, that a significant portion of the public eats fast food something like twenty times a month? Did I read that wrong? But, if I didn't, it might explain a lot about photography as well. Ouch! Safe, expected, controlled, conformed, mainstream, dare I say....nope, can't say it. Remember the Bruce Lee reference.

I keep hearing, "Yes, but you have to make a living." Agreed, but is it better to choose this mainstream path, or do something else for your income and then work solely on "your" images for your personal needs? I think this second choice would actually be far better for my industry, and only far worse for my ego. A very successful photographer recently wrote a post about "reskilling" or "retooling" his life, learning another trade to make the living so that he could continue his work. I think that post was like a rifle shot to a lot of people. I know it was to me.

I'm fortunate, have a good business, one that I try to evolve and change every four to five years, and I really mean change. I have to work hard to keep changing and starting over, but it is totally worth it(All but the losing my style part.) I'm more alive today than I was twenty years ago, when it comes to making pictures. At least until my bookshelves come crashing down on my skull. Or they stop making film and I have no reason to shoot any longer.

I think it is a fantastic job, working as a photographer. It really is. However, I sometimes wonder if I'm at a crossroads, where I have to begin looking at a broader scene, but with a far more focused pair of eyes.

PS: the attached photos are unrelated, done while I was writing this. Just fyi.

Keep snapping.

The Library Is Now Open

Well, after dealing with piles of books for months, years, decades, we have unveiled the new library. As of yet there is no infrastructure for visitors, but email or call for your appointment. These babies are meant to be viewed, so reserve your space now. All the cool kids are doing it.

Books by: Dunas, Moriyama, Mauskopf, Gaumy, Salgado, Nozolino, Caffery, Modica, Kennerly, Page, D Hump, Brewer, Beard, Fusco and Salas, just to name a few.

What you can't see in this photo is the OTHER side of the room, also with books, non-illustrated books.

Sleeping on the floor is not allowed. Nor is living in your car in front of the house.

AMT: Super Dynamite

I wanted to showcase another recent book cover, this one a small chronicle of my other nephew. He might look like a tiny man, but good things come in small packages. Some call him by his first name, some his last, and perhaps a few by his middle name, but we refer to him by his mancode...

AMT: SUPER DYNAMITE

Cover Me

I make books. A lot of books. I love making them, and I love the feeling the client gets when they see these things.

Most of the books I make are kept private, but a few are public and out there for others to see. However, many of the private books are compilations of images that I really like, so I thought I would share a few of the covers.

All of these books were done in the last month or so, a few of the nearly eighty books I have made to this point.

We English

Check out this blog by Simon Roberts. He has some very interesting posts regarding editing, and breaks down his methods while working on a project titled, "Motherland," which was published by Chris Boot.

Think about what you are reading, about things like reading of his spending one year making the pictures. Not a quick hit approach, nor was the subsequent editing and proofing system.

We English Link

New Promo

Hey, for all you Blurb fans, here is a new promo. Learn it, live it, love it.

Images on Blurb

My images from the Blurb site and their new Photo Book contest, which I encourage everyone to participate in. Grand Prize, $25,000 to pursue whatever future project you wish to pursue. A grand idea, and a nice sum to accomplish something.