Above left to right: Leroy, Mary Sprague, Lyov. Below right: Walter Polk
The World in Black and White BY G E RRY MAN DE L
G E TAWAYS
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quick history lesson. The first permanent photograph was created in 1826 by Joseph Niepce. It was black and white, of course. Photography was for the rich until George Eastman founded Kodak in the 1880’s. Today in this world of selfies, everyone carries a camera in their pocket. So why do I write about black and white photography? Because it has a relevant and necessary place in our world today. It taps into our emotions and allows us to see things in their purest form. It connects us in a meaningful way. At least, that’s my opinion, and the reason I chose these three excellent photographers.
JERRY TOVO The first thing that impresses me about Jerry Tovo is his intensity, both in his manner of speaking and his photographs. An accomplished photographer, he arrived at that position through a circuitous route. Born and raised in Alton, Illinois, he attended Southern Illinois University in Carbondale. Initially he wanted to become an architect, but was defeated by math and other engineering obstacles. He switched to marketing as a major and took photography to supplement that curriculum. Once he experienced the
magic of the darkroom, however, he knew what his future held. His resume’ includes stints with Olin Corporation and a startup studio, The Brass Shutter, later to become Jerry Tovo and Associates, focusing on commercial and fashion photography. In the midst of that and at a particularly hard time in the business, he was recruited to move to Chicago and work for Kodak Professional. His job was to help with shortcomings they were having in that market. “I’ve always loved black and white photography,” he says.”Black and white, to me, transcends color in power and mood. It focuses the eye and mind on the subject without the distraction of color. With digital, I can get the results I’m after more easily than back in the lab days." Jerry describes his style as “gritty.” He’s right. He likes to shoot older people because “they wear their lives on their faces.” I love that thought. He believes the real stories are in their eyes, so he pays particular attention to them. When I saw his presentation at the International Photography Hall of Fame and Museum in St. Louis
recently, I was drawn in by the faces and especially the eyes. In fact, it was that event that triggered the idea for this article. At one time, Jerry considered portraits of matriarchs and patriarchs. That seemed an ideal destination for his talents. But he found it to be too sensitive an area. He didn’t want to say, “Let me shoot pictures of your mom or dad while they’re still alive.” He now pursues subjects that capture his imagination. What does he look for in a subject? “What’s in their faces. Lines, marks, wrinkles, scars. Evidence of living. I want to capture their personality. I believe I can do that best without color. It’s more honest.” Lighting is key for capturing various aspects of the face. He especially puts a lot of effort into the eyes. “It sounds corny,” he admits, “but the eyes really are the spirit of the soul. A person’s life - their work, character, experience - shows up in their face.” Most, if not all of his portrait work now is
