Issue No. 26
This issue’s 18-page feature article represents the first in a series focusing on the state of the art in various regions of the nation and the world. The primary reporter for the series is contributing editor Richard Pitnick—who for this first installment spent 10 days in Havana, the slave of his notebook and camera. Future articles will not always focus on such exotic locations as Cuba; the targets will vary between a city, such as Philadelphia, and an entire region, such as the Northwest.
J. W. Collinge
It gives us special gratification every time we are able to turn the spotlight on the work of a photographer passed over by time. In this issue, we feature the photography of California pictorialist J. W. Collinge, whose career spanned the first half of the 20th century.
Nearly blinded by a serious illness, he lost all of his commercial clients but found a new vision as a fine art photographer.
He seeks inspiration for his mysterious, otherworldly images at the threshold between perception and imagination. “Each photograph is like a still taken from a movie that exists not on film but rather in one’s memory,” writes novelist John Berendt.
In 1981, this Californian loaded his worldly goods into a VW bug and headed for New York City. Finding his new life hard, he started driving a taxi to make ends meet—and soon discovered he could use the cab as his studio.
We feature a few of numerous intriguing images from his days as a shooter for Life, Look, Sports Illustrated, and others.
He says he has “things” to express, and he has never found a better way than through photography.
A storyboard artist for The Simpsons, he hones his visual skills shooting infrared in his spare time—relishing the interplay between highlights and shadows.
A director of commercials and music videos, with four for Michael Jackson to his credit, he found his fine-art niche while shooting for Jackson’s Earth Song in East Africa—wild animals, like they have never been photo-graphed before.
Drawn to the visual richness of Kubrick films, this Canadian seeks to capture images that express something different, “just a little off the wall.”
Looking to portray the transitory nature of human relationships, this Portuguese uses blurred motion pared with the strong contrasts of light and shadow.