evoked. Process Book by Kayleigh Bitter

D E P P i R T an m g i e W y: Ken

w e i v r e t In

e g i l e S k ng Mar

Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

D L R O W C i S U

M E H “T

s i e m r fo much an y r e ” . v E ENC i R E P X E L A I R

O T i ED KEN WEINGART: WHERE DID YOU GROW UP?

Mark Seliger: I was born in Amarillo and raised in

Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

Texas is a great place. It has a really interesting balance of poetry and urbanness. Houston is very urban yet it gave me a lot of opportunity to grow up in the suburbs and see art, and experience life outside of Amarillo. I was really lucky that we were able to get out of town and have those experiences. And New York was the flip side of that because it’s a big little town.

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

In high school, I did a little bit of dark room stuff. I went to HSPVA, which was a magnet school in Houston. It was centered around media, video, television, andphotography. The last year was more of a photographer apprenticeship. So I had quite a bit of photography background before college.

WHO WERE YOUR EARLY INFLUENCES?

My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus.

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went full-time from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years.

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

I enjoy taking pictures. If I take a job or assignment, I’m totally

invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE?

The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ, and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world.

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. How important is fine art to your career? Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story.

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture— which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

03 the name of book

KEN WEINGART: WHERE DID YOU GROW UP?

Mark Seliger: I was born in Amarillo and raised in

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

D L R O W C i S U

M n E a H h “T is very muc e ” m . r e o c f r o t i ed

n e i r e p x ial e

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK? I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else. Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

03 the name of book

KEN WEINGART: WHERE DID YOU GROW UP?

Mark Seliger: I was born in Amarillo and

raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

“

D L R O W C I S U n M a E uch TH

m y r e v s i e ” . e c for m n e i r e p x e l a i r o t i ed

03 the name of book

By: Ken Weigman

Interviewing Mark Seliger

TRIPPED. 03 IDK A TITLE YET

“As a

KEN WEINGART:

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE? In high school, I did a little bit of dark room stuff. I went to HSPVA, which was a magnet school in Houston. It was centered around media, video, television, andphotography. The last year was more of a photographer apprenticeship. So I had quite a bit of photography background before college. WHO WERE YOUR EARLY INFLUENCES? My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus. YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went fulltime from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years. YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT? I don’t really consider there’s the one world or the other. As a photographer, your skill set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that.

his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars— rising and fallen—is insatiable.

05 IDK A TITLE YET

IDK A TITLE YET

photographer, your skill set travels everywhere.”

KEN WEINGART:

“

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS? I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. How important is fine art to your career? Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story. FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK? I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else. Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about

the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and clichériddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

As a photographer, your skill set travels everywhere.

05 IDK A TITLE YET

IDK A TITLE YET

KEN WEINGART: WHERE DID YOU GROW UP? MARK SELIGER: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here. HOW DO YOU LIKE TEXAS? Texas is a great place. It has a really interesting balance of poetry and urbanness. Houston is very urban yet it gave me a lot of opportunity to grow up in the suburbs and see art, and experience life outside of Amarillo. I was really lucky that we were able to get out of town and have those experiences. And New York was the flip side of that because it’s a big little town. WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE? In high school, I did a little bit of dark room stuff. I went to HSPVA, which was a magnet school in Houston. It was centered around media, video, television, andphotography. The last year was more of a photographer apprenticeship. So I had quite a bit of photography background before college. WHO WERE YOUR EARLY INFLUENCES? My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus. YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went full-time from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years.

palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002.

“As a photographer, your skill set travels everywhere.”

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL? I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it. YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE? The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ, and some of the fashion magazines. So I think it’s very much alive and well. It’s

There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else. Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

05 IDK A TITLE YET

IDK A TITLE YET

obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world.

STRI PP

By Ken Weigart

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

INTERVIEWING MARK SELIGER

Monumental.

“AS A

PHOTOGRAPHER

broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story.

YOUR SKILL SET

TRAVELS

EVERYWHERE” KEN WEINGART:

job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE? The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ, and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world. DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS? I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. How important is fine art to your career? Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story. FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK? I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else. Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died

First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

Monumental.

KEN WEINGART:

WHERE DID YOU GROW UP? MARK SELIGER: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here. HOW DO YOU LIKE TEXAS? Texas is a great place. It has a really interesting balance of poetry and urbanness. Houston is very urban yet it gave me a lot of opportunity to grow up in the suburbs and see art, and experience life outside of Amarillo. I was really lucky that we were able to get out of town and have those experiences. And New York was the flip side of that because it’s a big little town. WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE? In high school, I did a little bit of dark room stuff. I went to HSPVA, which was a magnet school in Houston. It was centered around media, video, television, andphotography. The last year was more of a photographer apprenticeship. So I had quite a bit of photography background before college. WHO WERE YOUR EARLY INFLUENCES? My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus. YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went fulltime from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years. YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT? I don’t really consider there’s the one world or the other. As a photographer, your skill set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that. AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL? I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it. YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE? The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ, and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world. DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS? I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. How important is fine art to your career? Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a

Volume 01

responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story. FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK? I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else.

Had you somehow been able to tell Eugène Atget, the

impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer— always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

Monumental.

KEN WEINGART:

Had you somehow been able to tell Eugène Atget,

the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went full-time from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years. YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT? I don’t really consider there’s the one world or the other. As a photographer, your skill set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that. AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL? I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

Volume 01

somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story.

portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted.

Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a

subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen— is insatiable.

Monumental.

By: Ken Weigman

STRIPPED Interviewing Mark Seliger

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT? I don’t really consider there’s the one world or the other. As a photographer, your skill set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that. AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL? I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

“The music world for me is very much an editorial experience.”

Had you somehow been able to tell Eugène Atget, the impoverished

19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002.

KEN WEINGART:

WHO WERE YOUR EARLY INFLUENCES? My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus. YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went full-time from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years.

secreted

KEN WEINGART:

“The music world for me is very much an editorial experience.”

Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and clichériddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

secreted

KEN WEINGART:

set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that.

spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

WHERE DID YOU GROW UP? MARK SELIGER: I was born in Amarillo and raised in Houston, and

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

I don’t really consider there’s the one world or the other. As a photographer, your skill

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story.

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

HAD you somehow been able to tell Eugène Atget, the impoverished 19th-

century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story.

When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars— rising and fallen—is insatiable.

While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects.

secreted

PROJECT SUMMARY

Using a leading grid I designed features articles on a photographer Mark Seliger, Richard Avedon, and Susan Sontag. The articles would be published in a magazine about photography. Article 1: featured photographer, Article 2: historical photographer, Article 3: Essay. You will determin the order of the magazine once you have designed it. Typographic grids control the visual organization of the page space by supplying a particular kind of structure developed for typographic organization. This structure consists of margins, alleys, grid fields, and intersection points. Grids allow the designer to codify groups of typographic information. This process of codification allows the viewer to proceed through a complex page environment, tracking information in a seamless, linear manner.

AN INTERVIEW WITH

MARK SELIGER KEN WEINGART

Mark Seliger is one of the best-known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ , and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

KEN WEINGART: WHERE DID YOU GROW UP? Mark Seliger: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE?

The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ , and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world.

“AS A PHOTOGRAPHER, YOUR SKILL SET TRAVELS EVERYWHERE.

“

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advantages to obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else. Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village— he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who

have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars— rising and fallen—is insatiable.

AS A PHOTOGRAPHER, YOUR SKILL SET TRAVELS EVERYWHERE.

RESEARCH - IMAGES

30 WORDS 6 WORDS

Personal Serious Black & White Real Shocking Rhythmatic Memorable Famous Insatiable Stripped Well Known Enjoyable

Editorial Rolling Stones Magazines Successful Romantic Quick Prepared Bold Glamourous Intimate Eye catching Dramatic

Confident Evoking Exciting established Sincere Up Close Remarkable Exclusion Private Intimate Secret Hard Working

PERSONAL

COMPELLING

of or concerning one's private life, relationships, and emotions rather than matters connected with one's public or professional career.

(of a substance or thing) not imitation or artificial; genuine.

DRAMATIC

REAL

(of an event or circumstance) sudden and striking.

evoking interest, attention, or admiration in a powerfully irresistible way.

MEMORABLE

BOLD

worth remembering or easily remembered, especially because of being special or unusual.

WORD COMBOS

Natural Intense Compelling Time Stopping Driven Secrecy Conventional Iconic Connected Humane Spontaneous Uncanny

BOLD MEMORABLIA

(of a person, action, or idea) showing an ability to take risks; confident and courageous.

COMPEL THE BOLD

STRIPPED AND COVERED UP CLOSE AND PERSONAL REAL REMARKABLE

AUTHENTIC SECRETS

SECRET MONUMENT

PERSONALIZED TRUTH

PERSONALLY BOLD

GENUINE STRIPS

KEY IMAGE

QUOTES

“...and grabs the goods when a subjectoffersa moment of spontaneinty” “Seliger is an editor’s favorite because he can find content in a genre” “It’s really about evolving and finding new ways to tell the story.” “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.”

STRIPPED DOWN PRIVATE REMARKS EXCLUSIVE. BOLD MONUMENT REMARKABLE TRUTHS UP CLOSE & PRIVATE SINCERE INTIMACY GENUINE EXCLUSIVES AUTHENTIC STRIPS ENDURING HONESTY

EVOKED. STOP. SHOCK. EVOKE. EXCLUDE THE REMARKS INDEGINOUS WORLD SECRET MONUMENT COMPEL THE BOLD STRIPPED. UP CLOSE SOCIAL DOCUMENTATION EDITORâ&#x20AC;&#x2122;S FAVORITE

Tibor Kalman - M&Co

M & Co. is a graphic and product design firm. It is located in New York, New York, United States. Their designs are described by the Cooper-Hewitt, National Design Museum as being "imaginative and witty."[1 Tibor Kalman founded M & Co. one of the few graphic designers whose accomplishments were legend within the field and widely known outside as well. Tibor may not be as influential on the daily practice of graphic design as the Mac, but his sway over how designers think—indeed, how they define their roles in culture and society—is indisputable. For a decade he was the design profession’s moral compass and its most fervent provocateur.

Neville Brody Neville Brody is a London born designer who studied design in Britian during the 1970s. He is a founding member of the London based type foundry Fontworks and has designed over 20 different typefaces during his career. He was also a major contributor to FUSE,

ALEXEY BRODOVITCH Born in Ogolitchi, Russia in 1898 in an aristocratic and wealthy family, Brodovitch’s youth was marked by the bolshevik revolution. Being a loyal supporter of the tsar, he became first lieutenant in the czar’s White Army. Alexey Brodovitch is known foremost for his work on the american fashionmagazine Harper’s bazaar. Brodovitch used only type on one of the covers once, which was unusual for american magazines at that time. He wanted to create a magazine unlike any other. The first issue of the magazine is filled with a range of design influences that formed Brodovitch’s creative vision. The typeface he preferred was Bodoni, but when needed he switched to Stencil, Typewriter or a script. He matched the typeface with the feeling or with the need for an appropiate effect. Legibility was not his primary concern. He wasn’t known for being supportive. He wasn’t known for being a happy man. Brodovitch was known for introducing America to European modernism and revolutionizing magazine design. He was known for exposing us to new talents such as Salvadore Dali and Herbert Bayer, and teaching great photographers such as Frank Roberts and Richard Avedon. Brodovitch accentuates the fluidity and movement of the images by using repetition and diagonal and horizontal stress. He uses the contacts like frames from a film and creates the illusion of movement and spontaneity across the left-hand page. The strips of film overflow onto the opposing page, as if the dancers have twirled across the spine of the magazine. The enlargement on the right-hand page depicts the grand finale of this dance numer. He was known as the father of modern art direction, using unconventional and experimental designs that are common practice today. He was known for a lack of sympathy, decisive action, chain-smoking, and for being a drunk and a bit of a hard ass. Brodovitch cropped his photograhps, often off-center, brought them to the edge of the page, integrated them in the whole. He used his images as a frozen moment in time and often worked with succeeding pages to create a nice flow trough the entire magazine. This brought a new dynamism in fashion layouts. His layouts are easily recognized by his generous use of white space. Colleagues at other magazines saw his sparse designs as truly elegant, but a waste of valuable space. Brodovitch’s name is a name I have always been familiar with. He is well known throughout entirety of design. His influence on the printed page can still be seen in today’s magazine layouts that, while no longer challenging convention, make use of different devices to tell their stories. It’s important to remember his ways of designing especially magazine layouts because he knows the importance of white space.

HERB LUBALIN Herb Lubalin has been recognized, awarded, written about, imitated and emulated for it. There’s hardly anyone better known and more highly regarded in the business. Lubalin’s receipt of AIGA’s highest honor was never a matter of “if,” only “when.” Typography is the key. It is where you start with Lubalin and what you eventually come back to. However, “typography” is not a word Lubalin thought should be applied to his work. “What I do is not really typography, which I think of as an essentially mechanical means of putting characters down on a page. It’s designing with letters. Aaron Burns called it, ‘typographics,’ and since you’ve got to put a name on things to make them memorable, ‘typographics’ is as good a name for what I do as any.” Lubalin at his best delivers the shock of meaning through his typography-based design. Avant Garde literally moves ahead. The Sarah Vaughn Sings poster does just that. The publication was called U&lc, an acronym for upper and lower case, and was a result of 1974 legendary designer Herb Lubalin’s brilliant idea: What better way to display the myriad typefaces for the International Typeface Corporation (ITC) than with a quarterly magazine? (Though the tabloid-size format was really more like a newspaper, and was even printed on newsprint, with a fold down the middle.) ITC was formed in 1970 by Lubalin, Aaron Burns, and Edward Rondthaler, and it was the very first type foundry to use film and computer typesetting instead of metal type.

NEVILLE BRODY Born in Southgate, London Neville Brody was a lover of fine art and painting. His whole life he claims he has been interested in an art occupation. By the 1908’s he was experimenting with sans serif typography with Pop Art and Dadaism influences throughout his works. The 80’s had a huge punk infuence and so did Brody. “It’s important here to mention that the music scene in London was so vital. There were independent concerts, there was a thriving independent record label scene. And if it wasn’t for that, people like myself and other graphic designers such as Vaughan Oliver and Peter Saville out of Manchester and Malcolm Garrett, we would not have survived. There would have been no support system whatsoever. This was allowing us to make a living – albeit a minimal living – but to be able to make a living pursuing ideas, explorations and having them published and put out into a public space. That was absolutely vital. London was this thriving, humming, inspiring, exciting place to be at that time, where anything was possible.”- dezeen.com. Brody was known for experimenting with sans-serif typography. He made his name through revolutionary works. “People think that digital language is a fixed language, but it’s not: it’s very fluid. It’s like I’m doing a painting where the paint refuses to dry.” To highlight the most interesting parts of an article and to attract the attention of the reader, he used contrasting sizes, shapes or colours of type. This meant that a variety of different sizes and styles of lettering would be on the same page, which was very unusual at this time. Brody is mainly known for his use of typography. Brody’s opinion was that people read magazines in a different manner from the way they read books. When reading a magazine people tend to browse; they don’t read it straight through from the beginning to the end. Readers tend go back and forth picking out the interesting bits. It’s important to remember this aspect while designing our own magazine spreads throughout this project and further magazines or any layouts to come.

THE FATHER OF GRUNGE DAVID CARSON

David Carson is one of the most popular and influential graphic designers of the 1990s. He was imitated by designers throughout the world and his style defined the grunge typography era. His work for the magazines beach culture and ray gun in the 1990s brought a new approach to type and page design breaking with traditional layout systems. Carson’s style is experimental, intuitive and personal. He took his designing to a whole nother level. His most known work was the Ray Gun magazine. This took an approach on a new art direction successfully. The TED talk he presented about design and discovery was insightful and showed how passionate he is about what he does. Carson shows us that creativity or inspiration isn’t something that has to hit us over the head like a falling brick. Designers should be emotionally to simplified what they want to express and communicate with viewers. While some people may say he is too cocky and full of himself, I kind of believe that you need those traits to be a designer. If you’re not sure of what you’re doing how can someone else be? We should design freely, fearlessly, and put a little bit of ourselves in our work! By breaking all the rules of graphic design he gains major success in his career and inspires and influences graphic designers worldwide, who admire, follow and imitate him. He has the title “the father of grunge” because of his risk taking designs he creates with no hesitation or fear. One work I think is especially eye opening is his Xapf Dingbats article he did because of the interview he had with Bryan Ferry that in his belief was “Very Boring”. Carson’s rejects all typical conventions of designs usually within his work. This includes grid formats, hierarchy, and consistent layouts. While some people disagree with this form and do not like it at all, he is confident that he does not care. Modernist designer Paul Rand was an early critic of the budding design style. Legibility was never a worry in Carson’s world. He sliced away parts of letters and let sentences wander off the page without worrying where they were going. His typographic interpretations of editorial content marked a turning point in the history of graphic design. Carson is a famous graphic designer because he is controversial and does whatever tf he wants to do. He is on our list to research for this project to remind us that sometimes it’s okay to break the rules. Which is weird for this class specifically right now because all wer’re being taught are the rules, grids, and hierarchy of things. With the title and images of my designers I chose I can be a little more creative than usual to push the design flow.

TIBOR KALMAN While at the library at the Spencer Museum of Art researching for a historic photographer I came across a book that was about a magazine titled COLORS on the front of each front spread. I skimmed through the book reading articles about the editions that really caught my eye. My favorite article was when they changed the race of famous me and women. Tibor Kalm is a founding editor in chief of this magazine back in 1990. He is a Hungarian descent and lived there, throughout US including New York. Before this in 1979, him and two others started a design firm M&Co. This firm did corporate work for such diverse clients as the Limited Corporation, the New Wave music group Talking Heads, and Restaurant Florent in New York City’s Meatpacking District. Colors coined the term as “a mahazine about the rest of the world.” It focused on social awareness around the globe and cultural issues. The magazine was mainly for young adults to happily read with great layouts. It was expressed through graphic design, typography, and photography. Kalman designed the first thirteen covers of Colors. He played an instrumental role in transforming Colors into a global phenomenon and remained a driving force behind it. After working here for a number of years he re opened M&Co and worked there for the rest of his life because of cancer. He had a mission to take a pro active approach to design and art direction. He only accepted projects that would have a lasting impact. The work from M&Co has influence many big time designers like Stephen Doyle, Alexande Isley, and Stefan Sagmeister. As Kalman liked to remind people, he was not professionally trained and therefore lacked the visual bias of most graphic designers. He described himself as being a modernist designer. “Tibor saw himself as a social activist for whom graphic design was a means of achieving two ends: good design and social responsibility. Good design, which he defined as “unexpected and untried,” added more interest, and was thus a benefit, to everyday life. Second, since graphic design is mass communication, Tibor believed it should be used to increase public awareness of a variety of social issues. His own design firm, M&Co (named after his wife and co-creator, Maira), which started in 1979 selling conventional “design by the pound” to banks and department stores, was transformed in the mid-1980s into a soapbox for his social mission.” - aigi. org. Two names that changed design in the ‘80s : Mac and Tibor— “one changed the way we work, the other the way we think. The former is a tool, the latter was our conscience.” It’s important to remember the controversy Kalman made with his designs and how imporant it was to him to design important issues and things.

GAIL ANDERSON Living in New York for most of her life, Gail Anderson design well known visuals, without her name beign quite out there. She worked at Rolling Stone magazine starting as an associate then working her way up to Senior Art Directioner. She focused on conceptual typography. Anderson is the author of Outside the Box, for Princeton Architectural Press, as well as co-author of 12 books on design, typography and popular culture with Steven Heller. As a kid Anderson was always drawing on everything. She has worked with magzines to teaching to theater designing to packagin to writing and now designing for academia. She’s had the chance to work with other designers such as Paula Scher and Fred Woodward. She is passionate about helping with any school or workplace inclusion advocacy projects. She helped start the design of commercial art as her own career field. Gail interests me greatly for one because she lives in New York and has worked at all these places around, especially Rolling Stones. It’s informative to read on how she became interested. In an interview she mentions she absorbs her inspiration and ideas all around New York. Her work expresses that she isn’t afraid of big and bold for a design. She thinks outside the box and I am very fascinated with some of the ideas she has. She claims that her favorite part of being a designer sometimes is seeing her own work out in the streets and newstands while walking around. “It’s really fun to use the editorial side of my brain and to come up with stuff that appeals to prospective and current SVA students. And I’m able to keep my studio with my pal, Joe Newton, up and running, so I also have room to help come up with solutions for clients. Ultimately, I enjoy the puzzle of problem solving, whether it’s through design or writing, or both.” - creativepro.com “I try to absorb the design that I am surrounded with daily, whether it’s on the streets of New York, or in the books and objects I squirrel away (okay, hoard). In the last few years, I’ve found inspiration in other countries as well as in the mountains of upstate New York. I bought a camera and it changed my life. There’s so much amazing type out there that needs to be photographed.” This is a dream to achieve and I hope one day I am in the New York Streets thinking of ideas.

On Photography Mark Seliger

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire.Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the

â&#x20AC;&#x153;

TO COLLECT

â&#x20AC;&#x153;

world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange,

PHOTOGRAPHS

IS TO COLLECT THE WORLD.

Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear

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MAGAZINE COVERS

People pick the best magazines by their covers. Cover without a focus is a magazine without a focus. Bad covers belong to the bad magazines. They say you cannot judge a book by its cover, but if we apply this phrase to magazines it is just the opposite. You can judge the magazine by its cover. A good cover reflects on a good magazine. A good magazine cover has the two key goals: expresing the theme or content of the magazine and to attracting the future purchaserâ&#x20AC;&#x2122;s attention. Typographic hierarchy is important in print as well as in web design. It is important to show to the reader certain articles that are more important than others and also to create a readable structure within the page with the help of typographic hierarchy. The typography has a huge part in giving your magazine a unique mood and identity and positioning it in the market. Magazines that catch my attention are simple overall with the bold title grabbing your attention. While going through covers these are the ones that made me want to read the magazine. some the title is small and you see the subject first, others its the opposite but both successful,

MARK SELIGER

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ROLLING STONE COVER PHOTOS

“A great photograph needs no explanation”

â&#x20AC;&#x153;Working with legends in the music world has always been a great benefit for me.â&#x20AC;?

“I’m engaged and then all of a sudden I find a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.”

MARK SELIGER

Font studies: Din and Baskerville

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Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

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CALL OUTS 24/36 pt

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BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOmnitiist aut es ut labor as earion necerum quuntib erferibus, sam restiis ma cores ut harciis aut doluptia qui dolorpor molupta cum eatur? Nobitas event reictotatis pedi odit laborro volore si archilla as aut voloremquias dolorem porume mi, cus volore doluptatam liqui ima as porrum etur atinctem remqui am raturem aut volende rsperferiate nobis quatet, vendendandi volorro cus audipsumquat liquiant omnisim olupta diat omnis acimint quisime cum corit hillo eum ut hiciam, non etur, oditat qui apis aut elit veria ped quaeper ioremol uptaten daecessinum, id milisqui dolorum estrum aut volupta spelecte pla sam, qui dollent paria adioribus reicipi cienimu sciandae doluptam faceat dis si il ipsapita quia delit et, conessi minullab id everiberit mo beati re volest, sandae lab imusam, est vel ipsapellat quassequi vita doloribus mo to et labo. Et ulluptatur am fugit magnihil et aces aliquam endis modis essin nimoluptatem dolorum suntur sam conecer sperum ne min reperspedit hario. Hic te explatem sinum nonsequi berrum ventur autem. Nam quas explis eiusti. In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta voluptatur? Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci Sus doloreptur?

Font studies: Metablack and Cochin

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

Font studies: futura and swift

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

Font studies: memphis and avenir

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

ARTICLE TITLE THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

Font studies: niveau grotesk and sabon

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

INTRO TEXT 14/18PT: Ehenihic

CALL OUTS 24/36 pt

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

Font studies: gotham and basilia

Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

Article Title THIS IS A SUBHEAD

Ehenihic totae et, il ipis doloratiberi sed eaquati nverfer uptatem sunt ommodio conet que a aut omnisti busapero inte volum re non exerro veliqui quaecto ex eumquae errorum fuga. Nam ea conectatem. Ignis secta eaquata tectur? Ihit et qui digendi tatiusci voluptatus, quibus doluptatum quodi odiat odioriti aut endionet mod quia ipsandis mo con re parchil in prat excerunte simus sam que molorio vel enis aut ulliquaturit ventusdae. Fugia nulparum iur si comnihit prae exceaqui corem. Videro conseru mquiantium ad ut acessime accus duntibus magnati anducius vent architi rem sequi vel ea vendem explabo. INTRO TEXT 14/18PT:

CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam

In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

ARTICLE OPENI

ING SPREAD

MarkSeliger SUSAN SONTAG On Photography

RICHARD AVEDON

LEADING

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Book

Historical Photographer

MARK

SELIGER

Photographer

KAYLEIGH

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Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

INTERVIEWING MARK SELIGER

By Ken Weigart

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VOL 1.

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MARK SELIGER

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many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

BY: KEN WEIGMAN

BREAKING RULES VOL 1

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BY KEN WEIGMAN

STRIPPED Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

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gman Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles. Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles. Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

03 the name of book

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03 IDK A TITLE YET

STRIPPED Interviewing Mark Seliger By: Ken Weigman

IDK A TITLE YET

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits,

INTERVIEWING MARK SELIGER

whichis being exhibited at the Von Lintel Gallery in Los Angeles.

By Ken Weigart

Monumental. 03

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery

INTERVIEWING MARK SELIGER By: KEN WEINGART

Monumental. 03

K: WHERE DID YOU GROW UP? M: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

Vol. 1. 03

Monumental. 03

o a e tim ph Ob but mis from goin to te

FI YO T O

Vol. 1. 03

Il is Iâ&#x20AC;&#x2122; su to t s m

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of me. And this is somewhat of a responsibility of who I am as a hotographer and an artist. I think those are kind of blurry lines. bviously we know not everything is going to be considered art, t I’m an applied artist. For the mos tpart, I work on a ssion to do photographs. What I do for myself is not very far m what I do normally. I’ve always been one to have a project ng at some stage. It’s really about evolving and finding new ways ell the story.

INALLY, HOW DO YOU LIKE NEW ORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

love New York. Being in New York is a great place. Living here easy in a lot of ways. It’s more accessible than anywhere else ’ve ever been. There are some advantages to obviously being in unny California. We work there a lot. We have the opportunity o travel back and forth, and enjoy the beautiful weather and the different landscapes. But New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else.

IF YOU’RE GOING TO TAKE IT, YOU HAVE TO THOROUGHLY INVEST IN IT. Monumental. 03

IF YOU’RE GOING TO TAKE IT, YOU HAVE TO THOROUGHLY INVEST IN IT.

o a e tim ph Ob but mis from goin to te

FI YO T O

Vol. 1. 03

Il is I’ su to t s m

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of me. And this is somewhat of a responsibility of who I am as a hotographer and an artist. I think those are kind of blurry lines. bviously we know not everything is going to be considered art, t I’m an applied artist. For the mos tpart, I work on a ssion to do photographs. What I do for myself is not very far m what I do normally. I’ve always been one to have a project ng at some stage. It’s really about evolving and finding new ways ell the story.

INALLY, HOW DO YOU LIKE NEW ORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

Monumental. 03

Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre— celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story. While Seliger is now one of the biggies in an enormous industry, he does not take his position as an in-demand magazine photographer for granted. Next door to his studio compound—a converted stable on the western edge of Greenwich Village—he runs a gallery, 401 Projects. The photographers are chosen not because their work is going to sell like hotcakes but because Seliger thinks it matters. He has a special place for photographers who have a tougher time getting their work exposed, especially photojournalists. First came a couple of bites from Esquire and Fortune, followed by an assignment from Rolling Stone—he now laughs that he got it despite botching the spelling of the photo editor’s name on a letter—which was a seismic event for him given he was such a music fan. That perspective has remained a key to his photography, and to his success with his subjects. When Seliger was named *Rolling Stone’*s chief photographer, in 1992, a position that had not been filled since Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine, starting in 2002. His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity.

Monumental. 03

STRIPPED Interviewing Mark Seliger

By: Ken Weigman

03 IDK A TITLE YET

KEN YOU

N: WHERE DID U GROW UP? M: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

05 EVOKED.

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING? The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ , and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world.

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the mos tpart, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story.

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

EVOKED.

“IF YOU’RE GOING TO TAKE IT, YOU HAVE TO THOROUGHLY INVEST IN IT.”

05 EVOKED.

In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

05 EVOKED.

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer— always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity.

FINAL OPENING DESIGN

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, whichis being exhibited at the Von Lintel Gallery in Los Angeles.

COVER DES

SIGNS

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v o k e E d October Issue

a photography magazine. No 01. October Issue.

october 2017

No 1. a photography magazine.

e voked

October2017

evoked. Stripped: Interviewing Mark Seliger Second: Richard Avedon On Photography

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Stripped Second article On Photography

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no 17

October 2017

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STRIPPED// KEN WEIGMAN SECOND ONE// RICHARD AVEDON ON PHOTOGRAPHY// SUSAN SONTAG

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MARK SELIGER. RICHARD AVEDON. SUSAN SONTAG.

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UK Â£10.99 US $9.99 october 2017

Stripped /Ken Second /Richard On Photography /Susan

UK ÂŁ10.99 US $9.99

October 2017

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evoked. Stripped // Ken Weigman Second // Richard Avedon On Photography // Susan Sontag

evo d evo d e e k k evo d e k evo d e k evo d e k evoked MARK

SELIGER Photographer

RICHARD AVEDON Historical Photographer

OCTOBER

2017

SUSAN SONTAG On Photography

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v o k e E d Spring Issue

volume 07

a photography magazine. No 01. Spring Issue.

SPRING2017

evoked. Stripped: Interviewing Mark Seliger Second: Richard Avedon On Photography

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october 2017

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Stripped /Ken Second /Richard On Photography /Susan

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Stripped // Ken Weigman Disillusionment // Richard Avedon On Photography // Susan Sontag

HISTORIC DESIG

GN SPREADS

IDENTIFYING

BE AU

IDENTIFYING

BE AU

TY 07

EVOKED.

Despite the widespread recognition of his work, Mr. Avedon remained relatively insulated from the world, spending much of his working life in the white confines of his studio, where he could maintain control of his lighting and, in most cases, of his models and portrait subjects as well. "I've photographed just about everyone in the world," Mr. Avedon said. "But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again." His New Yorker pictures, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair this year, were topics of wide discussion. Perhaps even more so was his disregard for orthodox sensibilities, as reflected by the uproar surrounding some of his nude photographs, including the actresses Tilda Swinton in 1993 and Charlize Theron this year.

Some of his less controversial but nonetheless deeply insightful New Yorker portraits include those of Saul Bellow, Hillary Rodham Clinton, Toni Morrison, Derek Walcott, John Kerry and Stephen Sondheim. His fashion photos at The New Yorker showed, if possible, even more edge, especially his pictorial essay in the November 1995 fashion issue. It featured a human skeleton carrying on with elegant models. Unlike his upbeat and glamorous fashion photography, Mr. Avedon's portraiture chronicled a growing sense of disillusionment about the possibilities of American life and culture, especially after his optimistic years in the 50's and early 60's. From the start, his portraits seemed intent on peeling away the bright sheen of celebrity to reveal the ordinary, often insecure human being underneath, but in the 1970's they became focused on the trials of aging and death.

07 EVOKED.

EVOKED.

Mr. Brodovitch and the 21-yearold Avedon formed an immediate and close bond; in 1945 Mr. Avedon's photographs began appearing in Junior Bazaar and, a year later, in Bazaar itself. After being placed on the magazine's payroll, he opened his own studio, which Mr. Brodovitch used as the off-campus home of his laboratory classes into the 1950's. Mr. Brodovitch gave Mr. Avedon many plum assignments, including the privilege of covering the Paris spring and fall collections, much to the annoyance of the veteran staff photographers. Mr. Avedon was encouraged by Mr. Brodovitch to break the boundaries of conventional fashion photography, mixing reality and fantasy with surrealist effect, and he soon learned to visualize his pictures in strictly graphic terms. His later adoption of a seamless white studio background for most of his fashion and portrait photography was at least partly in spired by Mr. Brodovitch's characteristic use of "white space," a means of making the subject seem suspended and weightless on the page.

Although Mr. Avedon made several attempts at photographing in the traditional documentary mode, including a number of street scenes taken on trips to Italy in 1946 and 1947 and a grainy series of images of patients at a Louisiana mental hospital in 1963, his significant contribution to photography's documentary mode rests with his studio portrait style. In the studio he could isolate his subjects not only graphically but also psychologically, producing a convincing illusion of a direct confrontation between the person in the picture and the viewer. Mr. Avedon's deceptively simple portrait style was capable of a wide emotional range. He used it to glamorize some of the most beautiful women of the 20th century, including the models Dorian Leigh, her sister, Suzy Parker, and Jean Shrimpton; the actress Anna Magnani; and a young Jacqueline Kennedy on the eve of her husband's inauguration as president. Although he was on Vogue's staff only until the end of the 60's, he continued his association with the magazine, and with Mr. Liberman, for more than 20 years.

EVOKED.

DENTIFYING

BEAUTY

"I've photographed just about everyone in the world," Mr. Avedon said. "But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again." His New Yorker pictures, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair this year, were topics of wide discussion. Perhaps even more so was his disregard for orthodox sensibilities, as reflected by the uproar surrounding some of his nude photographs, including the actresses Tilda Swinton in 1993 and Charlize Theron this year. Some of his less controversial but nonetheless deeply insightful New Yorker portraits include those of Saul Bellow, Hillary Rodham Clinton, Toni Morrison, Derek Walcott, John Kerry and Stephen Sondheim. His fashion photos at The New Yorker showed, if possible, even more edge, especially his pictorial essay in the November 1995 fashion issue. It featured a human skeleton carrying on with elegant models. Unlike his upbeat and glamorous fashion photography, Mr. Avedon's portraiture chronicled a growing sense of disillusionment about the

EVOKED.

possibilities of American life and culture, especially after his optimistic years in the 50's and early 60's. From the start, his portraits seemed intent on peeling away the bright sheen of celebrity to reveal the ordinary, often insecure human being underneath, but in the 1970's they became focused on the trials of aging and death.

07 EVOKED.

Mr. Brodovitch and the 21-year-old Avedon formed an immediate and close bond; in 1945 Mr. Avedon's photographs began appearing in Junior Bazaar and, a year later, in Bazaar itself. After being placed on the magazine's payroll, he opened his own studio, which Mr. Brodovitch used as the offcampus home of his laboratory classes into the 1950's. Mr. Brodovitch gave Mr. Avedon many plum assignments, including the privilege of covering the Paris spring and fall collections, much to the annoyance of the veteran staff photographers.

Mr. Avedon was encouraged by Mr. Brodovitch to break the boundaries of conventional fashion photography, mixing reality and fantasy with surrealist effect, and he soon learned to visualize his pictures in strictly graphic terms. His later adoption of a seamless white studio background for most of his fashion and portrait photography was at least partly in spired by Mr. Brodovitch's characteristic use of "white space," a means of making the subject seem suspended and weightless on the page.

the studio he could isolate his subjects not only graphically but also psychologically, producing a convincing illusion of a direct confrontation between the person in the picture and the viewer.

Mr. Avedon's deceptively simple portrait style was capable of a wide emotional range. He used it to glamorize some of the most beautiful women of the 20th century, including the models Dorian Leigh, her sister, Suzy Parker, and Jean Shrimpton; the actress Anna Magnani; and a young Although Mr. Avedon Jacqueline Kennedy on the eve made several attempts at of her husband's inauguration photographing in the traditional as president. Although he was documentary mode, including a on Vogue's staff only until the number of street scenes taken on end of the 60's, he continued his trips to Italy in 1946 and 1947 association with the magazine, and a grainy series of images of and with Mr. Liberman, for patients at a Louisiana mental more than 20 years. hospital in 1963, his significant contribution to photography's documentary mode rests with his studio portrait style. In

EVOKED.

ILLUSIONment

dis

Mr. Avedon revolutionized the 20th-century art of fashion photography, imbuing it with touches of both gritty realism and outrageous fantasy and instilling it with a relentlessly experimental drive. So great a hold did Mr. Avedon's fashion photography come to have on the public imagination that when he was in his 30's he was the inspiration for Dick Avery, the fashion photographer played by Fred Astaire in the 1957 film "Funny Face.â&#x20AC;? Despite the widespread recognition of his work, Mr. Avedon remained relatively insulated from the world, spending much of his working life in

the white confines of his studio, where he could maintain control of his lighting and, in most cases, of his models and portrait subjects as well. "I've photographed just about everyone in the world," Mr. Avedon said. "But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again."

Some of his less controversial but nonetheless deeply insightful New Yorker portraits include

07 EVOKED.

â&#x20AC;&#x153;what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once.â&#x20AC;?

those of Saul Bellow, Hillary Rodham Clinton, Toni Morrison, Derek Walcott, John Kerry and Stephen Sondheim. His fashion photos at The New Yorker showed, if possible, even more edge, especially his pictorial essay in the November 1995 fashion issue. It featured a human skeleton carrying on with elegant models. Unlike his upbeat and glamorous fashion photography, Mr. Avedon's portraiture chronicled a growing sense of disillusionment about the possibilities of American life and culture, especially after his optimistic years in the 50's and early 60's. From the start, his portraits seemed intent on peeling away the bright sheen of celebrity to reveal the ordinary, often insecure human being underneath, but in the 1970's they became focused on the trials of aging and death.

07 EVOKED.

Mr. Brodovitch and the 21-year-old Avedon formed an immediate and close bond; in 1945 Mr. Avedon's photographs began appearing in Junior Bazaar and, a year later, in Bazaar itself. After being placed on the magazine's payroll, he opened his own studio, which Mr. Brodovitch used as the off-campus home of his laboratory classes into the 1950's. Mr. Brodovitch gave Mr. Avedon many plum assignments, including the privilege of covering the Paris spring and fall collections, much to the annoyance of the veteran staff photographers. Mr. Avedon was encouraged by Mr. Brodovitch to break the boundaries of conventional fashion

photography, mixing reality and fantasy with surrealist effect, and he soon learned to visualize his pictures in strictly graphic terms. His later adoption of a seamless white studio background for most of his fashion and portrait photography was at least partly in spired by Mr. Brodovitch's characteristic use of "white space," a means of making the subject seem suspended and weightless on the page. Although Mr. Avedon made several attempts at photographing in the traditional documentary mode, including a number of street scenes taken on trips to Italy in 1946 and 1947 and a grainy series of images of patients at a Louisiana mental hospital in 1963, his significant contribution to photography's documentary mode rests with his studio portrait style. In the studio he could isolate his subjects not only graphically but also psychologically, producing a convincing illusion of a direct confrontation between the person in the picture and the viewer. Mr. Avedon's deceptively simple portrait style was capable of a wide emotional range. He used it to glamorize some of the most beautiful women of the 20th century, including the models Dorian Leigh, her sister, Suzy Parker, and Jean Shrimpton; the actress Anna Magnani; and a young Jacqueline Kennedy on the eve of her husband's inauguration as president. Although he was on Vogue's staff only until the end of the 60's, he continued his association with the magazine, and with Mr. Liberman, for more than 20 years.

In the studio he could isolate his subjects not only graphically but also psychologically, producing a convincing illusion of a direct confrontation between the person in the picture and the viewer.

07 EVOKED.

ON PHOTOGRAP DESIGN SPREAD

PHY DS

H A P OTGRP Y O H

umankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

Photographs furnish evidence.

N O PHOTOGRAPHY An exerpt on Platoâ&#x20AC;&#x2122;s Cave

tographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.

years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of To collect photographs is to Nature, Methods of Transport, collect the world. Movies Works of Art, and other clasand television programs light sified treasures from around up walls, flicker, and go out; the globe. Godard's gag vividly but with still photographs parodies the equivocal magic the image is also an object, of the photographic image., lightweight, cheap to produce, Photographs are perhaps the easy to carry about, accumost mysterious of all the obmulate, store. In Godard's jects that make up, and thicken, Les Carabiniers (1963), two the environment we recognize sluggish lumpen-peasants are as modern. Photographs really lured into joining the King's are experience captured, and Army by the promise that the camera is the ideal arm of they will be able to loot, rape, consciousness in its acquisitive kill, or do whatever else they mood. please to the enemy, and get rich. But the suitcase of booty To photograph is to approprithat Michel-Ange and Ulysse ate the thing photographed. It triumphantly bring home, means putting oneself into a

certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be state-

ments about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

rate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, Photographs furnish evidence. to show something "out there," Something we hear about, but just like the Polaroid owner for doubt, seems proven when whom photographs are a handy, we're shown a photograph of it. fast form of note-taking, or the In one version of its utility, the shutterbug with a Brownie who camera record incriminates. takes snapshots as souvenirs of Starting with their use by the daily life. Paris police in the murderous roundup of Communards in While a painting or a prose June 1871, photographs became description can never be other a useful tool of modern states than a narrowly selective interin the surveillance and control pretation, a photograph can be of their increasingly mobile treated as a narrowly selective populations. In another version transparency. But despite the of its utility, the camera record presumption of veracity that justifies. A photograph passes gives all photographs authorifor incontrovertible proof that ty, interest, seductiveness, the a given thing happened. The work that photographers do picture may distort; but there is no generic exception to the is always a presumption that usually shady commerce besomething exists, or did exist, tween art and truth. Even when which is like what's in the pic- photographers are most conture. Whatever the limitations cerned with mirroring reality, (through amateurism) or pre- they are still haunted by tacit tensions (through artistry) of imperatives of taste and conthe individual photographer, a science. The immensely gifted photograph -- any photograph members of the Farm Security -- seems to have a more inno- Administration photographic cent, and therefore more accu- project of the late 1930s (among

â&#x20AC;&#x153;

them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography's glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.

Images which idealize (like most fashion and animal photography) are no less aggressive

That age when taking photographs required a cumbersome and expensive contraption --

â&#x20AC;&#x153;

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are

Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.

the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

ON photography Humankind lingers unregenHerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has beenphotographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In God-

ard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image. Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly

an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais

quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we're shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what's in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs

decade after decade, still want, first of all, to show something "out there," just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject's face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.

Photographs furnish evidence.

that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

SONTAG ESSAY PHOTOS

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Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

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Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

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Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent oﬃc te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

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In re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae.

INTRO TEXT 14/18PT:

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CALL OUTS 24/36 pt BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, oﬃcaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone oﬃcii strundi dello cuptat.

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INTRO TEXT 14/18PT: Ehenihic

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Article Titl

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INTRO TEXT 14/18PT: Ehenihic

In re et que etustest,

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Caption: re et que etustest, qui remquatur abo. Dam facerem que ilitati andenim quae etur repe sundipis voluptiis sint velendi iliatiis ipicipsae. Feriati dolupta volupt

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Font studies: gotham and basilia

Font studies: Metablack and Cochin

BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facilla pedit eosti sintiam utem quisti custore raecto blandus andisi quis et lique es sed maximil ellatur epudit voluptas aut plitati busdae paruntis ut volo te net alignih itassit ationsecti cum quis ex entusciam vendebis dolupti cum raeratur? Qui coresequo iliam sequatum ne ratentis antur, odit vendese ditiundaes non res nam dis coreper ationest, elicillut que pa sed magnatur maio doluptas nosamenduci dolenim aiorepeliqui occupta spedipidic te vendi dem dolorepercia evenit que voluptate vellupt atibere prepel ma consedi ilit deriore perspitia quatibus mi, consequatem ipsunt ut dolorro rerionsequi sequi dus arcipsandus doluptatqui non es sum conecae qui voluptatus et lab ius dolupta tibusae magnatus mos si berunt laciis aut vel is expelent ad excest, te pre, officaborum quas velessum fuga. Sus doloreptur? Sit, optis nobitat emquas estruptae nis doluptat quatum, qui corerum volorro eici ditiore, ute nullis commo dolorum facerspe sam, explam quidebis as dipis pariore cone officii strundi dello cuptat. Orehent quia voluptur? Ferro et es et odit adios et vernam inciur ratur aut porro odis ex etum esti sapel et quate peribero cus quat ium fugitate estiasp eribus et magnatur? Fuga. Assit quaspitatiis et eumet et quam harum estiistis venimol uptiam quame numquis ea iliaese dissitiur, sapidere nonsequi voluptatiae experias ex ea auta doluptae vellestrum consed quo te doloruptate si as debisciis dit modiate mporemp oribusa nobit perspedit, od miliber ovidebit, sit at aut lab inturio tem consequas ut autatintur moluptis dolupta incipsuOptatis nost, sim lam nobit, odi reprate pelitiorrum quat. Ur alibusam qui illuptas apisse liquibus autemquias vollabo repudipsam, te quid moditatia sequund itatquidus que porem et qui doluptatatem sit quia digent atus am faceatem am, od eossundamus unt rem non et porem es des quamenderem quibusdam ent offic te volut etur, tetures rem ratemo enduciis eossim volupta tiunt.

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Font studies: futura and swift

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CALL OUTS 24/36 pt

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BODY TEXT 8.5/12pt: Agnationsed exerem velestisquam facil-

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THIS IS A SUBHEAD

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Font studies: memphis and avenir

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HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

very for me is experience.” l a ri edito

TRIPPED.

By: Ken

“As a

STRiPPE

Weigm

liger

Interview

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity.

KEN WEINGART:

Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and

endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the

03 the name of book

Von Lintel Gallery in Los Angeles.

ORLD E MUSiC W

“TH

KEN WEINGART:

WHERE DID YOU GROW UP?

Mark Seliger:

I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

e is h an for mm very ucPERiENCE.”

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

EX EDiTORIAL KEN WEINGART: WHERE DID

YOU GROW UP?

Mark Seliger:

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A LOT OF WORK THERE?

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

photographer, your skill set travels everywhere.”

Se ing Mark

IDK A TITLE YET

IC WORLD “THE MUS much an

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

IDK A TITLE YET

Mark Seliger:

By: Ken Weigman

KEN WEINGART:

WHERE DID YOU GROW UP?

Interviewing Mark Seliger

MARK SELIGER DRAFTs

ORLD E MUSiC W an

h “TH very muc ce.” for me is rien expe editorial

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

KEN WEINGART:

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

Vogue. We do a fair amount of that. AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL? I enjoy taking pictures. If I take a job or assignment, I’m totally invested in it and excited whether it’s an advertising job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

03 the

Volume 01

KEN WEINGART:

Had you somehow been able to tell Eugène Atget, the

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer— always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when

Monumental.

05 05

Volume 01

Monumental.

IDK A TITLE YET

“

KEN WEINGART:

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another— the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

”

As a photographer, your skill set travels everywhere.

obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that world. DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS? I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. How important is fine art to your career? Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the most part, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding new ways to tell the story.

“As a photographer, your skill set travels everywhere.”

STRIPPED Interviewing Mark Seliger

HOW DO YOU LIKE TEXAS? Texas is a great place. It has a really interesting balance of poetry and urbanness. Houston is very urban yet it gave me a lot of opportunity to grow up in the suburbs and see art, and experience life outside of Amarillo. I was really lucky that we were able to get out of town and have those experiences. And New York was the flip side of that because it’s a big little town. WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE? In high school, I did a little bit of dark room stuff. I went to HSPVA, which was a magnet school in Houston. It was centered around media, video, television, andphotography. The last year was more of a photographer apprenticeship. So I had quite a bit of photography background before college. WHO WERE YOUR EARLY INFLUENCES? My mentor was a guy named James Blueberry, who was our professor. Wonderful guy. I admired Penn, Avedon, and Arnold Newman was one of my heroes. I loved some of the early Skrebneski pictures and was a fan of Mary Ellen Mark and Diane Arbus. YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE? I started to shoot for a ton of different magazines. I ended up working for Rolling Stone pretty quickly. I was on retainer with them at first, and then eventually I went fulltime from 1992 to 2002, and then full-time with Conde Nast (Vanity Fair and GQ) for ten years.

INTERVIEWING MARK SELIGER

Monumental.

KEN WEINGART:

set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that.

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

WHERE DID YOU GROW UP? MARK SELIGER:

KEN WEINGART:

Vogue. We do a fair amount of that.

KEN WEINGART:

TRAVELS

HOW DO YOU LIKE TEXAS?

“The music world for me is very much an editorial experience.”

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

I don’t really consider there’s the one world or the other. As a photographer, your skill

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

HAD

you somehow been able to tell Eugène Atget, the impoverished 19thcentury street photographer who died broke and neglected, that one day the camera, a relatively new invention in Atget’s day, could be the ticket to a life that most people only fantasize about, this genius might not have left his glass-plate negatives to gather dust. He’s the one who comes to mind when I think about Mark Seliger, not just because of the humble way Seliger talks about the privileged life photography has given him, but also because he seems to put his all into a shoot—as if it’s the last time he’ll ever get a job. Not a chance. Seliger is an editor’s favorite because he can find content in a genre—celebrity portraiture—which all too often comes off as empty, tacky, humorless, and cliché-riddled. His pictures, often rendered in a rich palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story.

“The music world for me is very much an editorial experience.”

Monumental.

Had you somehow been able to tell Eugène Atget, the impoverished 19th-century street photographer who died

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING, OR IS THERE STILL A L WORK THERE? The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ, and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously ch drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is needed from that worl

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NE YORK?

I love New York. Being in New York is a great place. Living here is easy in a lot of ways. It’s more accessible than anywhere else I’ve ever been. There are some advan obviously being in sunny California. We work there a lot. We have the opportunity to travel back and forth, and enjoy the beautiful weather and the different landscap New York for me is where my studio is and the bulk of editorial is for me. So it makes a lot more sense for me to be here than to be anywhere else.

job or an editorial job. That’s why people hire me. They hire me to do what I do. That’s kind of the rule… If you’re going to take it, you have to thoroughly invest in it.

EVERYWHERE”

Mark Seliger is one of the bestknown editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated “chief photographer” for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, which is being exhibited at the Von Lintel Gallery in Los Angeles.

YOUR SKILL SET

By Ken Weigart

“AS A

PHOTOGRAPHER

By: Ken Weigman

STRI

palette, tend to be cinematic. They seem to freeze a moment while implying a much bigger story.

IDK A TITLE YET

KEN WEINGART:

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’ so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’ shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where th spot was, and I know when to disengage.” When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But h is also practical, and no dummy when dealing with the machinations th come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity.

Stripped: Interviewing Mark Seliger Identifying Beauty: Richard Avedon On Photography: Susan Sontag

a photography magazine. Spring Issue. No 07.

03 11 15

STRIPPED Interviewing Mark Seliger Ken Weigart

ON PHOTOGRAPHY An Exerpt on Platoâ&#x20AC;&#x2122;s Cave Susan Sontag

IDENTIFYING BEAUTY Interviewing Mark Seliger Ken Weigart

Mark Seliger is one of the best known editorial portrait photographers in the U.S., and his career spans over twenty years. He succeeded Annie Leibovitz as the designated â&#x20AC;&#x153;chief photographerâ&#x20AC;? for Rolling Stone Magazine and has photographed over 125 Rolling Stone covers. His magazine work in portrait and fashion continues to be extensive and includes: Italian Vogue, Elle, Vanity Fair, GQ, and others. He has won many of the top photo awards worldwide, and continues to create self-realized projects and endeavors. I had the opportunity to talk to Mark about his most recent personal project On Christopher Street: Portraits, whichis being exhibited at the Von Lintel Gallery in Los Angeles.

INTERVIEWING MARK SELIGER By Ken Weigart

03 Whoopi Goldberg. 1997. All photos in this article are by Mark Seliger

EVOKED.

KEN: WHERE DID YOU GROW UP?

M: I was born in Amarillo and raised in Houston, and spent my high school years there. Later, I went to East Texas University and majored in photography and minored in graphic arts. After that I moved to New York to assist and ended up staying here.

HOW DO YOU LIKE TEXAS?

WHAT WAS YOUR EXPOSURE TO PHOTOGRAPHY BEFORE COLLEGE?

WHO WERE YOUR EARLY INFLUENCES?

AS FOR ADVERTISING WORK, DO YOU FIND YOU ENJOY IT AS MUCH OR LESS AS EDITORIAL?

YOU HAVE BEEN MOVING INTO THE FASHION WORLD A BIT?

I don’t really consider there’s the one world or the other. As a photographer, your skill set travels everywhere. I mean I’ve done a lot of fashion stories over the years. I work regularly for Elle, Harper’s Bazaar, Vogue, and Italian Vogue. We do a fair amount of that. It’s obviously changing drastically with all these music services coming up. I was really lucky that we were able to get out of town and have those experiences.

YOUR FIRST BIG BREAK WAS SHOOTING FOR ROLLING STONE?

rolling stones. brad pitt.1992

EVOKED.

YOU ARE KNOWN FOR MUSIC. HAS THAT INDUSTRY CHANGED A LOT SINCE YOU STARTED SHOOTING?

“ IF YOU’RE GOING TO TAKE IT, YOU HAVE TO THOROUGHLY INVEST IN IT.”

The music world for me is very much an editorial experience. I do some record cover work and photographs for music packaging, whether it’s digital packaging, or a printed piece. But certainly we shoot a fair amount of artists for Vanity Fair, GQ , and some of the fashion magazines. So I think it’s very much alive and well. It’s obviously changing drastically with all these music services coming up. I still think there’s a lot of hope for interesting visual needs in terms of music and what is from that world.

DO YOU FIND IT CAN BE DIFFICULT WORKING WITH PUBLICISTS?

rolling stones. brad pitt.1992

vanity fair. marion cotillard.2009

I typically work one on one with artists. The publicists tend to make the connection between the artist and myself. And then usually we take it from there. I was really lucky that we were able to get out of town and have those experiences.

HOW IMPORTANT IS FINE ART TO YOUR CAREER?

07 EVOKED.

Everything that we do is a trusted photograph and becomes part of the archive. There are some commercial jobs obviously that are not going to make it to the bank. That’s why I do so much editorial, because the editorial work is also a documentation of time. And this is somewhat of a responsibility of who I am as a photographer and an artist. I think those are kind of blurry lines. Obviously we know not everything is going to be considered art, but I’m an applied artist. For the mos tpart, I work on a mission to do photographs. What I do for myself is not very far from what I do normally. I’ve always been one to have a project going at some stage. It’s really about evolving and finding.

FINALLY, HOW DO YOU LIKE NEW YORK CITY? YOU’RE STILL LIVING THERE? WHAT DO YOU LIKE BEST OR LEAST ABOUT NEW YORK?

HIS PICTURES, OFTEN RENDERED IN A RICH PALETTE, TEND TO BE CINEMATIC.

His pictures give you the feeling that you’re not looking up at the subjects, not looking down at them, but right there with them. Be they intimate images or fantasy scenes that Seliger has contrived, he doesn’t so much impose the narratives onto his subjects as divine them; his photographs seem to capture an essence of who the subject is. Seliger’s shoots have a rhythm to them: “I’m engaged and then all of a sudden I find a spot, a moment. I keep moving and then it’s over. I know where that spot was, and I know when to disengage.”When Seliger talks about being a magazine photographer—always on planes and living in hotels, going from one adventure with a subject to another—the sense of romance that he has about it all is visceral. But he is also practical, and no dummy when dealing with the machinations that come with fame and power. He works quickly, always comes prepared, knows how to find the windows that will open onto the views he wants, but is also willing to listen, and grabs the goods when a subject offers a moment of spontaneity. In another era, Seliger might have followed the path of one of the photographers he admires, someone such as Walker Evans, who did such memorable work documenting America during the Depression. Then again, maybe Seliger is his own kind of social documentarian, of a moment when the audience’s hunger for images of its stars—rising and fallen—is insatiable.

05 EVOKED.

Annie Leibovitz had left 9 years before, he had one of the industry’s plum jobs. But after a 10-year run he called it a day, knowing it was time for new challenges, including becoming a contributing photographer for this magazine.

rolling stones. brad pitt.1992

Susan Sontag

PHOTOGRAPHY An exerpt on Plato’s Cave

about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godxard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge –– and, therefore, like power.

A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They

are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality –– photographs are fragile objects, easily torn or mislaid –– and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin

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N O

tion of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity –– and ubiquity –– of the photographic record is photography. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects.

Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive

mood.

Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences. That age when taking photographs required a cumbersome and expensive contraption –– the toy of the clever, the wealthy, and the obsessed –– seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer. the self-consciousness of photography-as-art.

13 EVOKED.

“

interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film –– the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpreta-

Commune of Paris, 1871

Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the

Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph –– any photograph –– seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as While a painting or a prose description can never be other than a narrowly selective

“

with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, they served up in books.

BE AU IDENTIFYING

TY 15

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kennedy family. 1961

Richard Avedon's photographs captured the freedom, excitement and energy of fashion as it entered an era of transformation and popularization. No matter what the prevailing style, his camera eye always found a way to dramatize its spirit as the fashion world's creative attention swayed variously from the "New Look" of liberated Paris to pragmatic American sportswear designed in New York, and from the anti-establishment fashion of London's Carnaby Street to sophisticated, tailored dresses and suits from Milan. Mr. Avedon revolutionized the 20th-century art of fashion photography, imbuing it with touches of both gritty realism and outrageous fantasy and instilling it with a relentlessly experimental drive. So great a hold did Mr. Avedon's fashion photography come to have on the public imagination that when he was in his 30's he was the inspiration for Dick Avery, the fashion photographer played by Fred Astaire in the 1957 film "Funny Face.” Despite the widespread recognition of his work, Mr. Avedon remained relatively insulated from the world, spending much of his working life in the white confines of his studio, where he could maintain control of his lighting and, in most cases, of his models and portrait subjects as well. "I've photographed just about everyone in the world," Mr. Avedon said. "But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again."

His New Yorker pictures, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair this year, were topics of wide discussion. Perhaps even more so was his disregard for orthodox sensibilities, as reflected by the uproar surrounding some of his nude photographs, including the actresses Tilda Swinton in 1993 and Charlize Theron this year. Some of his less controversial but nonetheless deeply insightful New Yorker portraits include those of Saul Bellow, Hillary Rodham Clinton, Toni Morrison, Derek Walcott, John Kerry and Stephen Sondheim. His fashion photos at The New Yorker showed, if possible, even more edge, especially his pictorial essay in the November 1995 fashion issue. It featured a human skeleton carrying on with elegant models. Unlike his upbeat and glamorous fashion photography, Mr. Avedon's portraiture chronicled a growing sense of disillusionment about the possibilities of American life and culture, especially after his optimistic years in the 50's and early 60's. From the start, his portraits seemed intent on peeling away the bright sheen of celebrity to reveal the ordinary, often insecure human being underneath, but in the 1970's they became focused on the trials of aging and death. Mr. Brodovitch and the 21-year-old Avedon formed an immediate and close bond; in 1945 Mr. Avedon's photographs began

vogue. 1961

17 EVOKED.

andy warhol. 1969.

“ what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once.”

appearing in Junior Bazaar and, a year later, in Bazaar itself. After being placed on the magazine's payroll, he opened his own studio, which Mr. Brodovitch used as the off-campus home of his laboratory classes into the 1950's. Mr. Brodovitch gave Mr. Avedon many plum assignments, including the privilege of covering the Paris spring and fall collections, much to the annoyance of the veteran staff photographers. Mr. Avedon was encouraged by Mr. Brodovitch to break the boundaries of conventional fashion photography, mixing reality and fantasy with surrealist effect, and he soon learned to visualize his pictures in strictly graphic terms. His later adoption of a seamless white studio background for most of his fashion and portrait photography was at least partly in spired by Mr. Brodovitch's characteristic use of "white space," a means of making the subject seem suspended and weightless on the page.

patients at a Louisiana mental hospital in 1963, his significant contribution to photography's documentary mode rests with his studio portrait style. In the studio he could isolate his subjects not only graphically but also psychologically, producing a convincing illusion of a direct confrontation between the person in the picture and the viewer. Mr. Avedon's deceptively simple portrait style was capable of a wide emotional range. He used it to glamorize some of the most beautiful women of the 20th century, including the models Dorian Leigh, her sister, Suzy Parker, and Jean Shrimpton; the actress Anna Magnani; and a young Jacqueline Kennedy on the eve of her husband's inauguration as president. Although he was on Vogue's staff only until the end of the 60's, he continued his association with the magazine, and with Mr. Liberman, for more than 20 years.

â&#x20AC;&#x153; he could isolate his subjects not only graphically but also psychologicallyâ&#x20AC;? vanity fair. aubrey hepburn.

ringo starr. Jan 29, 1965

Stripped: Interviewing Mark Seliger Identifying Beauty: Richard Avedon On Photography: Susan Sontag

evoked was designed by Kayleigh Bitter for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: baskerville, belizio, and Din. Printed a Jayhawk Ink, Lawrence KS.

a photography magazine. Spring Issue. No 07.

STRIPPED Interviewing Mark Seliger Ken Weigart

TOC SPREADS

ON PHOTO An Exerpt on Platoâ&#x20AC;&#x2122;s Cave Susan Sontag

IDENTIFY Interviewing Mark Seliger Ken Weigart

OGRAPHY

YING BEAUTY

03 11 15

STRIPPED Interviewing Mark Seliger Ken Weigart

ON PHOTOGRAPHY An Exerpt on Platoâ&#x20AC;&#x2122;s Cave Susan Sontag

IDENTIFYING BEAUTY Interviewing Mark Seliger Ken Weigart

FINAL TOC SPREADS

03 11 15

STRIPPED Interviewing Mark Seliger Ken Weigart

ON PHOTOGRAPHY An Exerpt on Platoâ&#x20AC;&#x2122;s Cave Susan Sontag

IDENTIFYING BEAUTY Interviewing Mark Seliger Ken Weigart

REFLECTION Throughout this project I struggled more than I thought I would because of grids and rules. I have not had any experience with a magazine spread in the past and lining up text and photos over and over turns out to not be my specialty. As I say that, I learned alot in this project everyday and slowly learned more about grids, typography, justification, leading, and baseline grids. As a past member in yearbook in high school I thought I had some recollection of what is right but I realized I didnâ&#x20AC;&#x2122;t know shit. The cover of the project was my favorite pages to work with compared to article spreads. While this project was not my favorite to do and I do not see myself ever trying to go into the magazine business, I appreciated the knowledge and feedback I got everyday on what to do. I can already see myself greatly advancing in knowledge about a leading grid and typography. Every day I am overwhelmed with the amount of rules, techniques, and tips I am taught, it pushes me everyday to be better than the previous.