The Analogue Street Collective Magazine #1

Winter 2015 No. 1

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Independent Magazine of Photography

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LARA KANTARDJIAN . FRIEDER ZIMMERMANN . MICHAEL GEHLING DIRK VOGEL . MARIE-PIERRE LAMBELIN . MANOLO L B MANTERO CYRIL JAYANT . MAIKE VENZL . ANDO FUCHS . ANDREW STEINER BRIAN SOKOLOWSKI . MARIE-LOU CHATEL . BERNARD JOLIVALT THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Editor & Graphic Design by Lara Kantardjian Articles by Frieder Zimmermann Interviews by Marie-Pierre Lambelin Published by Lara Kantardjian Š 2015 The Analogue Street Collective Printed in London theanaloguestreetcollective.com

All images and text published in this magazine by The Analogue Street Collective are copyright protected and the sole property and ownership of the photographers and editors. No part of this publication may be copied, printed, manipulated, edited, distributed or used in any form without prior written permission from the copyright owners and publisher. All rights reserved.

The ANALOGUE STREET COLLECTIVE

About The Collective Based on an idea by Michael Gehling & Frieder Zimmermann who founded The Analogue Street Facebook Community Page in April 2013, dedicated to analogue Street Photography around the World.

The Collective was initiated and Site & Facebook Page created in October 2014 by Lara Kantardjian to feature portfolios, projects, gallery and publications by the collective photographers.

Introduction Dear readers, We are pleased to welcome you to the first magazine "The Analogue Street Connection".

Perhaps you are wondering about the name we have chosen. To put it straight to the point, no member of this initiative is a naysayer to the technical progress. Although we all love the old, quiet, thoughtful photography on film and even practice it from time to time, of course, we are also using digital cameras that have become valuable to us as daily companions in our work. So, you find both in this issue. In addition to a variety of analogue pictures some digital photos as well. It is probably the most our common love for these old technics with which we grew up, that has made us chosen the name.

In this first issue of our magazine we present the members of the group, with a selection of their street photography. In addition, we are pleased that three other photographers whose work has impressed us have answered our questions in an interview.

We close this magazine with a review of the book "Early Colors" by Saul Leiter, a report on the interesting permanent exhibition in Luxembourg "The Family of Man" and an extract from a worth seeing photo series by Bernard Jolivalt.

We hope to present you another edition of our magazine in the second half of the year in which we again invite new talents to show their work.

But beforehand we look forward to announcing our joint book "The Analogue Street Connection�. It will be available for purchase online. We will inform you on our website. Furthermore, we report here both on ongoing or completed photo projects of our members as well as on other photographers whose work we noticed for a while.

We look forward to seeing you at www.theanaloguestreetcollective.com Sincerely Editors team

Einleitung Liebe Leser, Wir freuen uns, Sie in dem ersten Magazin „The Analogue Street Connection“ begrüßen zu dürfen.

Vielleicht wundern Sie sich über den Namen, den wir gewählt haben. Um es gleich Vorweg zu sagen, nein die Mitglieder dieser Initiative sind keine Fortschrittsverweigerer.

Wir alle lieben zwar die alte, ruhige, wohl überlegte Fotografie auf Filmen und praktizieren sie heute noch, besitzen aber selbstverständlich längst auch digitale Kameras, die uns zu wertvollen täglichen Begleitern in unserer Arbeit geworden sind. So ist in diesem Heft beides zu finden. Neben einer Vielzahl analoger Fotos finden sie ebenso digitale. Es ist es wohl die gemeinsame Liebe zu der Technik, mit der wir groß geworden sind, die uns den Namen hat wählen lassen.

In dieser ersten Ausgabe unseres Magazins stellen wir die Mitglieder der Gruppe mit einigen ihrer Arbeiten vor. Darüber hinaus freuen wir uns, dass drei weitere Fotografen, deren Arbeiten uns beeindruckt haben, sich in einem Interview unsern Fragen gestellt haben.

Mit einer Besprechung des Buches „Early Colors“ von Saul Leiter, dem Bericht über die sehenswerte Dauerausstellung in Luxenburg „The Family Of Man“ und dem Extrakt einer großartigen Fotoserie von Bernard Jolivalt schließen wir dieses Magazin ab.

Wir hoffen, dass Ihnen die erste Ausgabe von The Analogue Street Connection gefällt und würden uns sehr über eine Feedback freuen.

Ganz zum Schluss wollen wir Ihnen noch einen kleinen Ausblick auf unsere nächsten geplanten Aktivitäten geben: Wir hoffen, Ihnen im zweiten Halbjahr eine weitere Ausgabe unseres Magazins vorstellen zu können, in dem wir auch wieder neue Talente einladen, Ihre Werke zu zeigen. Vorher aber freuen wir uns, Ihnen schon jetzt unser gemeinsames Buch „The Analogue Street Connection ankündigen zu dürfen. Es wird über den Online-Handel zu erwerben sein.

Wir werden Sie auf unserer Webseite darüber informieren. Weiterhin berichten wir dort sowohl über laufende oder abgeschlossene Fotoprojekte unserer Mitglieder als auch über andere Fotografen, deren Arbeit uns aufgefallen ist.

Wir freuen uns auf Ihren Besuch bei 8

www.theanaloguestreetcollective.com Ihr Redaktionsteam

THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Introduction Chers lecteurs, Nous sommes heureux de vous inviter à la première édition de « The Analogue Street Connection.

Le nom que nous avons choisi vous étonne peut être. Clairement, aucun membre de ce projet ne s'oppose au progrès technique ! Même si nous aimons tous cette manière de photographier à l'ancienne, sur pellicule, et que nous la pratiquons encore de temps en temps, nous utilisons depuis longtemps des appareils photo numériques. Ils sont devenus très importants dans notre travail quotidien. Vous trouverez donc mêlées dans ce numéro des images argentiques et numériques. C'est probablement notre amour commun pour la photographie argentique avec laquelle nous avons grandi, qui nous a fait choisir ce nom.

Ce premier numéro de notre magazine est l'occasion de présenter les membres du collectif et une sélection de leurs œuvres. Nous sommes également heureux que trois photographes dont le travail nous a impressionné aient accepté de répondre à nos questions.

Enfin nous clôturons ce magazine avec un compte rendu du livre « Early colors » de Saul Leiter, un article sur la très intéressante exposition permanente « The Family of Man » à Luxembourg et un extrait d'une série de photographies de Bernard Jolivalt qui vaut d'être vue.

Nous espérons que vous aimerez cette première édition de « The Analogue Street Connection » et attendons avec grand plaisir vos réactions.

Nous aimerions en vous donner un aperçu de nos prochaines activités à venir: Nous espérons vous présenter un nouveau numéro de notre magazine au second semestre. Nous souhaitons y inviter d'autres talents à montrer leurs oeuvres.

Mais nous sommes d'ors et déjà heureux de vous annoncer notre livre « The Analogue Street Connection » qui sera disponible en ligne. Plus d'information à venir sur notre site!

Nous y présentons également des projets en cours ou achevé de nos membres et aussi le travail d'autres photographes qui nous semble remarquable.

Nous sommes heureux de vous accueillir sur www.theanaloguestreetcollective.com La rédaction

THE CO L LEC TIV E P H OTO G RA P HE RS P ROF ILE AND O FU CHS

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MAI KE VE NZ L . 3 9 CY RI L JAYA NT . 6 9 MANO LO L B MAN TE RO . 9 4 MARI E - PI E RRE L AMB E LI N . 1 2 2 DI RK VOGE L . 15 0 MI CHAE L GE H LI N G . 17 8 FRI E DE R ZI MME RMA NN . 2 0 6 LAR A KA NTAR DJI A N . 2 3 2 F EATU R E D BY TH E C O LL ECTI V E IN T E RV IE W AND RE W STE I NE R . 2 6 2 B RI AN SO KOLOWSKI . 276 MARI E- LOU CH ATE L . 2 9 0 A RT IC L E THE FAMI LY O F MA N . 3 0 2 SAUL LE I TE R - E ARLY C OLOR . 3 0 6 PHOTO SE RI E S HORS- SAI SO N | O FF- SE AS ON . 31 2 WEBSITE LINKS

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PROFILE | ANDO FUCHS

ANDO FUCHS

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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Ando Fuchs

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PROFILE | M AI KE VE NZ L

ANDO FUCHS

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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Maike Venzl

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PROFILE | CYRI L JAYAN T

ANDO FUCHS

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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Cyril Jayant

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PROFILE | M A NOLO L B MA N TERO

ANDO FUCHS

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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Manolo L B Mantero

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PROFILE | M ARIE-PIERRE LA MB ELI N

ANDO FUCHS

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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Marie-Pierre Lambelin

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PROFILE | DIR K VOGE L

ANDO FUCHS

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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Dirk Vogel

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PROFILE | MIC HA EL GE HLING

ANDO FUCHS

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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Michael Gehling

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PROFILE | FRIEDER ZIM MERM AN N

ANDO FUCHS

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmerman

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Frieder Zimmerman

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Frieder Zimmerman

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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Frieder Zimmermann

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PROFILE | LAR A KAN TARDJIA N

ANDO FUCHS

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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Lara Kantardjian

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FEATURED | PHOTOGR APHER S

ANDO FUCHS

Photo by Cynthia Kristufek Andrew Steiner is a self-taught photographer.

Mr. Steiner’s work has been published in burn Magazine, PDN News Online and other online journals. HIs corporate clients include Xerox, The Gene Siskel Film Center and The Jane Goodall Institute. He is a founding member of CORE images, based in Chicago, IL.

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Andrew Steiner

Interview with Andrew Steiner 1/ How did you become interested in photography and become passionate about it? What made you first pick up a camera?

My father was a commercial photographer in Rochester, NY so there were always cameras around the house, he was always documenting the family. I would go to my dad’s studio to hang out and mess around. I was lucky enough to go to the Norman Howard School as a teenager. It’s a school for kids with dyslexia. l They were just starting a photography program taught by then RIT student Bruce Bennett. He still teaches at the school but is now an internationally renowned fine art/documentary photographer. I joined the program and Bruce became my mentor. He encouraged me to explore subjects that I was interested in. Mainly, I wanted some excitement and I wanted to see things beyond my relatively quiet hometown of Fairport. NY. When I was 16 I created my first documentary series focusing on the the homeless people living in the city of Rochester, NY. I think working with and meeting people through the project and being able to tell a human story with compassion was what inspired me then and continues to motivate me.

2/ Where do you get your inspiration ? How do you choose your subjects ?

I am inspired by looking at other photographers like André Kertész, Eugene Richards, Alex Webb, Helen Leavitt, Robert Frank… many others. I look for layers and narrative - if I am walking down the street I 264 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Andrew Steiner

tend to see things abstractly, shapes, light, color - and how all of those elements combine and work together to build a story. Recently, my work has shifted into developing more deliberate photo-essays that force me to think about the overall message of a group of images. I spent most of the Summer visiting East Chicago to work on a series about the Whiting BP Refinery and how it is affecting the local communities.

3/ Do you think it is important to be technically competent ?

Of course. With digital photography people think they can now pick up a camera and that “anyone” can be a photographer. This just isn’t true. You still have to know the technical side - your aperture, how the aperture affects the image, shutter-speed. You have to understand what the camera is capable of and what decisions you can make to create your image and style - if you don’t learn the technical aspects of photography it’s like only knowing a few letters in the alphabet.

4/ Why do you shoot with film rather than digital ?

I shoot both. I don’t believe that film is inherently “better” than digital. I did film photography for 15 years before I went digital and I do still shoot film. I am in the process of building a darkroom in my bathroom again. Everything that you can do with film you can do with digital. The difference is the tactile experience of processing film. Digital images do tend to start out flat.. With film, you have that physical object (the negative), which has it’s own properties - grain, contrast - that are very hard to replicate with digital. Over the past year I’ve been working with a Leica M6 and Mamiya C330. I enjoy not seeing the preview of what I am shooting. You have to trust your instincts and knowledge of what your camera can do. In a way this makes the end result much more satisfying.

5/ Most of your pictures are in B&W, why ?

I think it helps to reduce the image to its essential ingredients: light, composition and viewpoint. There is a drama to Black+White that I love. I do also enjoy color it’s just that for a lot of the work I do, I think Black+White works better.

6/ What matters more to you ? The story ? Details ? Mood ?

I don’t know that you can separate those things. The story is in the the details and mood. I may not focus consciously on details when I am shooting but they are there as elements that draw me to take the photograph in the first place.

7/ Can you quote me three works that have struck you, or really influenced and why ?

Robert Frank’s, The Americans, it’s such a consistent body of work. It is thoughtful and deep, almost an anthropological study of American culture and society during that time. Diane Arbus, her photo The Twins. Again, another very personal vision that is objective but that communicates this trust that she has with her subjects and allows for a very authentic psychological portrait. Finally, André Kertész, Fork. It’s an image of a fork on a plate. He was always experimenting, exploring the world around him from a slightly different angle.

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Andrew Steiner

8/ What would you tell a newcomer who asks for your advice on how to start?

I would say if you are going to shoot - shoot with your camera only on manual, learn it inside and out.

Make the technical second nature. I would also say seek out other photographers - look at other work, learn the history, and make an effort to meet photographers that are working today. With Facebook and Twitter, we are all connected. Your mom and dad will always like your photos. Find people that can offer you constructive criticism so you can grow and develop your own voice.

9/ What projects are you working on? What is your actually ?

Currently I am working on finishing up my East Chicago project, although I may return to it again to follow up on where the community is at in a few months. That’s online now at: http://coreimages.net/2015/01/east-chicago-indiana My personal project right now is a series on the Red Line train, this is the train I take to work everyday so I am documenting the weather, people in transit, the waiting. It’s a story about modern life I guess.

10/ Tell us more about your agency CORE. CORE images was an idea that grew out of meeting some fellow photographers who were also interested in taking our work to the next level. We want to build what have been more personally directed projects into larger stories for a larger audience. As a cooperative agency our aim is to promote our own and each other’s work as well as learn from each other as we go. Our website launched this February, you can view our work and learn more about us at http://coreimages.net - and, of course, follow us on Twitter and Facebook.

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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Andrew Steiner

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ANDO FUCHS

Brian is drawn to, and tries to capture, the quiet moments in a robust, bustling city.

Street photography has been a vehicle to express how he views the world, a visual extension of how he feels. He tries to take pictures of people exactly how he sees them. For Brian it is not so much about aesthetics, as it is about emotion; it is a simple need for connection with his subjects, and with his viewers.

And if he occasionally attains that connection, it makes it all worth it. That’s the reason he continues to take pictures

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Brian Sokolowski

Interview with Brian Sokolowski 1/ How did you start to interest you to photography and become passionate about it ?

What made you first pick up a camera ?

I've been a musician almost my entire life. And I also dabbled in writing for quite a few years- so the arts have always been a dominant part of my life. Around 1995, I was going through some rough times, and for all intents and purposes, I was lost. The person I was living with had an old Pentax Super sitting on her shelf. I took it off the shelf and shot for about 10 hours that first day. It quickly became the most integral, important way for me to express myself.

2/ Where do you get your inspiration ? How do you choose your subjects ?

I've always been drawn to subjects that I felt were closest to how I was feeling. Much of my early work deals with themes of isolation, confusion, loss, etc. Which makes perfect sense to me, as that's how I felt in my early years of photography. Content and substance have always been the most vital part of my work. I feel that no matter what medium of art you practice - you should be trying to say something. About who you are, about society. The photographs that stick with me are the ones that immediately hit me in the stomach, that give me a jolt, and make me think. Nice light, composition are well and good, but if the photograph doesn't say anything, than really - it's just a snapshot.

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3/ Do you think it is important to be technically competent ?

Absolutely. Your camera has to become a extension of you. How much latitude do you have with the film you're using? What are the limitations of your camera? There are so many variables. And then we can talk about developing and printing, but that's an entirely different topic. Unless of course you just want to take nice snapshots... then by all means set your camera on auto, and fire away.

4/ Why do you shoot with film rather than digital ?

I've yet to see a digital print with the same warmth and texture as a film print. It's not a matter of nostalgia, or sentimentality at all. That's a fallacy. It's simply the superior tool. That being said, the entire process... from loading my film, all the way to printing, is a very organic process for me. I feel that I have complete ownership of my work. Through every step. And, as I said- it just looks better.

5/ Most of your pictures are in B&W, why ?

I feel like with B/W, I can get right to the heart of the matter, so to speak. No distractions. I do enjoy looking at great color work, and ironically, one of my best selling photographs is a color photograph shot with Portra of "The Pink Lady." But it's taken me almost 20 years to get my black and withe photographs to a point where I'm happy with them. Well... almost.

6/ What matters more to you ? The story ? Details ? Mood ?

It's always about the story. The mood and details need to compliment and accentuate the story. But without the story, there's nothing there. The goal for me over the years has been to be able to combine the three elements into a succinct, honest, and flowing frame. For the most part, I think that new photographers work in a certain order. First - concentrating on the details, second- finding mood within the scene, and lastly - weaving them together to form a story. It's a natural progression.

7/ Can you quote me three works that have struck you, or really influenced and why ?

For me, music, literature, and photography have worked hand in hand. So I'll give you one of each.

Miles Davis "Kind of Blue". We're talking about the Kings of Jazz collaborating on this record... Coltrane, Adderley, Cobb, Evans, Chambers. The best thing about this record is that it never flaunts it's genius. It's absolute control from each of these masters. That's my favorite characteristic of great photographers as well... subtly and control.

Dan Fante "Chump Change". Dan is somewhere in between his Father- John, and Bukowski. In this book, as well as the other three in this series, Fante writes on an autobiographical basis- which means he really puts himself out there. The main character "Bruno" is an absolute train wreck, which is something I very much relate to. I think the best work comes from topics and subjects that you're intimately close to. The same with photography.

Robert Frank "The Americans". The Americans showed a different America than the wholesome, popular- non confrontational photo essays of that era. His subjects weren't necessarily living the American dream. They were factory workers, transvestites, and people living on the fringe. It's as refreshing now as it was then.

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Brian Sokolowski

8/ What would you tell a newcomer who asks for your advice on how to start?

Not much advice other than practice, practice, and then practice more.

9/ What projects are you working on? What is your actuality ? Tell us more about your agency CORE. Currently, I'm working on a project on affordable housing and gentrification here in Chicago. CORE is the brainchild of four friends and photographers from Chicago: Nima Taradji, Axelle Hortsmann, Andrew Steiner, and myself. Our goal is to raise awareness, and social consciousness though long tern multimedia essays and projects.

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Brian Sokolowski

Brian Sokolowski

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Brian Sokolowski

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Brian Sokolowski

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Brian Sokolowski

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ANDO FUCHS

Colorist of historical photographs, Living in Belgium.

I’ve always been fascinated with the work of the great photographers of the 20th century. When I look at their photos, I wonder what they saw in color while taking the photograph.

One day, I discovered the only American archive FSA where it was possible to use copyright-free high-resolution images. A series of photos of Dorothea Lange was included, and this is how it began. My goal is to find the colors as close as possible to reality. I work with a repository of shades of gray at the base, but I mainly rely on my instincts and my imagination, all the sensations which I put in my work.

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Marie-Lou Chatel

1943 Mar New York. Forty-second Street and Fifth Avenue on a rainy day.

Restored and colorized January 27 2015 ©By Marie-Lou Chatel.

Photographer : ©By John Vachon 1912-1985.

Digital file from original: LC-DIG-fsa-8d26833. No known restrictions.

Interview with Marie-Lou Chatel 1/ What is your artistic carrer ?

I am self-taught. I always loved books, and art in all its forms.

2/ Where did you get this passion for photography?

Since my adolescence, I was always interested in photography. With my work of colorization, I discover and learn about these great photographers of the century. It is fascinating.

3/ How did you get the idea of restoring old photographs, to give them their colors again ?

By accident. I was looking to find a way to express myself artistically. As i’m not so bad with photo editing softwares, i searched in this field what could fit the best to my desire for creation. Because I was in a learning curve, i’ve been looking through several video tutorials and amongst them, one was about this technic. I started first with photo restoration but moved quickly to colorization.

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Marie-Lou Chatel

1942 Aug New York. Waiting for the trains at the Pennsylvania railroad station.

Photographer : ©By Collins, Marjory 1912-1985 Restored and colorized Jan, 12 2014 ©By Marie-Lou Chatel.

Digital file from original: LC-DIG-fsa-8d21836 No known restrictions.

4/ How do you choose the photos that you work with? (photographers you love, legal issues etc ...?)

It depend on my discoveries. This is one of the most interesting parts in this work.. I regularly going on shorpy.com which is a blog about vintage photography: they have thousand of HD pictures. I need to be moved by a picture (by style, composition, story, …). If not it doesn’t work. If I don’t know the photographer, I try to get more information on his life.

I can either choose a picture from 1900 or from 1980 or 1990…I like all decades as this is a very good opportunity for me to learn something about daily lives of the people. I’m currently restricted to american pictures (free of copyright, of course) . I would be very interested to work on French digital archives or other. But I’m facing the problem of a big lack of choice.

5/ What is the technique ? How long do you need to restore a picture ?

5a) My two main software are Photoshop and Lightroom, and sometimes few others. Before starting colorization, I use several Photoshop tools like the Stamp, the Patch, the Local adjustement in order to remove the dust, scratches, cracks and any other imperfections. Then I correct tones with Lightroom (in order for instance to add more contrast).

Once those correction are done, I start the colorization. Each color has it’s own layer and mask and I use that with filters in order to get the desired result. I’m also using several other settings and filters…but those are my little secrets ;) 5b) It depends on the general appearance of the picture. The more details there are, the longer the time it tajkes for a photo. It can range from a minimum of 2 hours to three days. .

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Marie-Lou Chatel

6/ How and where do you document and find the vintage colors ?

I’m looking at many old movies (like touristical advertisement), I read, I consult archives documents, I go on specialized websites in order to get as much informations as I can on clothes colors, buildings colors, things like that. And if I still don’t find what I’m looking for, I have historian friends on Facebook who can help me sometime.

7/ Is there a photographer you prefer to work on their pictures, if yes why ?

I do not have a favorite photographer. The most important is the photo.

8/ What brings you to this restoration work? What are you looking for from the public ?

A lot of pleasure, I think of having found an artistic activity which corresponds with what I looked for, it is really fascinating. It is clear, that this work completely changed my life, and I could never do without.

For the very positive moment, Of course, there is always the opponents who think that this technique is useless. But on the whole I have good feedbacks. In fact by adding the color, the spectator is brought a little bit closer to the reality in which they were taken. Colorizing pictures contributes to giving an overview of the world such as it was long ago and I think that give maybe the opportunity to see what that the photographer saw through his lens.

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Marie-Lou Chatel

1924 April Washington snow scenes Restored and colorized February 6 2015 ©By Marie-Lou Chatel.

Photographer : ©By Harris & Ewing.

Digital file from original: LC-DIG-hec-32230. No known restrictions.

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Marie-Lou Chatel

1942 Aug New York. Waiting for the trains at the Pennsylvania railroad station.

Photographer : ©By Collins, Marjory 1912-1985 Restored and colorized Jan, 12 2014 ©By Marie-Lou Chatel.

Digital file from original: LC-DIG-fsa-8d21836 No known restrictions.

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Marie-Lou Chatel

1942 Aug New York. Chinese grocery store in Chinatown.

Restored and colorized January 24, 2015 ©By Marie-Lou Chatel.

Photographer : ©By Collins Marjory 1912-1985.

Digital file from original: LC-DIG-fsa-8d21957. No known restrictions.

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Marie-Lou Chatel

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Marie-Lou Chatel

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Marie-Lou Chatel

1942 Aug New York. Chinese grocery store in Chinatown.

Restored and colorized January 24, 2015 ©By Marie-Lou Chatel.

Photographer : ©By Collins Marjory 1912-1985.

Digital file from original: LC-DIG-fsa-8d21957. No known restrictions.

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ANDO FUCHS

The Family of Man

Im Jahre 1951 begann der in Luxemburg gebürtige Fotograf und Kurator Edward Steichen zusammen mit dem im Mai 2013 verstorbenen Fotografen Wayne Miller für das Museum of Modern Art (MoMA) in New York eine eindrucksvolle Sammlung fotografischer Werke zusammenzustellen, die das Leben der Menschheit nach dem 2. Weltkrieg dokumentieren sollte In 1951 the photographer and curator, Edward Steichen, native of Luxembourg started an impressive collection of photographs with the aim of documenting human life after the World War II. Together with the photographer, Wayn Miller, they launched their collection at MoMA in NewYork.

Edward Steichen Die Ausstellung sollte sich als Manifest für den Frieden und die fundamentale Gleichheit der Menschen präsentieren. “The Family of Man“ zeigt ein umfassendes Porträt der Menschheit in 37 Themen, darunter Liebe, Glaube, Geburt, Arbeit, Familie, Kinder, Krieg und Frieden.

The exhibition presents itself as a manifesto for peace and equality of all people. “The Family of Man” shows a complete portrait of mankind in 37 topics.

Among these subjects are birth, love, familiy, children, faith, work, war and peace.

Es war eine Herkulesarbeit, die sich Steichen aufbürdete. Aus 2 Millionen Aufnahmen (an anderer Stelle wird von der doppelten Anzahl ausgegangen) wählte er zuletzt 503 Fotos aus, die die humanistische Fotografie der Nachkriegszeit dokumentierte. Dabei wurden natürlich Werke all jener großen Fotografen in die Sammlung übernommen, denen heute jeder engagierte Straßenfotograf mit mehr oder weniger Erfolg nacheifert. Robert Capa, Henri Cartier-Bresson, Dorothea Lange, Robert Doisneau, August Sander, Robert Frank, Irving Penn oder Ansel Adams sind nur wenige berühmte Namen, die im MoMA mit nur jeweils wenigen Aufnahmen vertreten waren. Insgesamt hat Edward Steichen 273 zum Teil unbekannte Fotografen aus 63 Ländern berücksichtigt. Und jeder einzelne hat auf seine Art großartige Dokumente abgeliefert, die auch heute in Zeiten kriegerischer Auseinandersetzungen, Vertreibung und Diskriminierung nichts von ihrer Eindrücklichkeit verloren haben. Die Bilder, die durch die 37 vorgegebenen Themen wirklich unser Leben in seiner ganzen Vielfalt zeigen, schicken doch nur eine einzige Botschaft aus: “Hört endlich auf, euch die Köpfe einzuschlagen! Wir haben nur diese eine Welt!” Könnte eine Fotopräsentation aktueller sein?

It was hard work for Steichen to select from a collection of more than 2 million photographs. Finally 503 images which documented human photography of the post war time were selected. Of course you can find pictures of all those well known photographers such as Robert Capa, Henry Cartier Bresson, Dorothea Lange, Robert Doisneau, August Sander, Robert Frank, Irving Penn or Anselm Adams, but perhaps more important is that you can see the work of 273 less known photographers from 63 countries. Each of them delivered great documents of their time.

What impressed me the most is the relevance of all these images in our present time; War, expulsion, and discrimination for example. You realize that history is unchanged and that the powerful message is: To end killing people, end damaging the environment, as it is the only world we have! Could an exhibition of photography be more important and impressive?

Es gibt wohl keine Ausstellung, die je von mehr Besuchern gesehen wurde. Zehn Millionen Menschen haben sie gesehen. Sie sind nicht alle nach New York gekommen, sondern, im Gegenteil, die Ausstellung ist zu ihnen durch die gesamte Welt gereist. In mehr als 150 Museen war sie zu Gast. Und einige dieser Bilder haben inzwischen an Bord zweier Voyager Sonden unser Sonnensystem verlassen.

10 million visitors have seen these images. Of course they didn't come all to New York. The other way round – the exhibition went on tour.

It was to be seen in more than 150 museums round the world. Some of the pictures have even left our sun system in voyager probes. .

Seit 1994 hat die Ausstellung nun im Schloss Clervaux im Norden Luxemburgs (Ardennen) ihre endgültige Heimat gefunden.

Since 1994 “The Familiy of Man” has found its final home now at the Chateau Clervaux in the north of Luxembourg.

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ANDO FUCHS

The Family of Man

Hier wurden die Bilder, die auf ihrer langen Tour rund um die Welt stark gelitten hatten, in mühevoller Arbeit (2000 Personenstunden) restauriert. Seit 2003 gehört “The Family of Man” in das UNESCO Weltdokumentenerbe.

Nach der notwendigen Restaurierung sowohl der Bilder als auch der Ausstellungsräume im Schloss ist “The Family of Man” seit 2013 nun wieder im Château Clervaux zu sehen.

After their long journey around the world the photographs were severely damaged and had to be restored in 2013. Now this impressive exhibition belongs to the Unesco heritage!

Die beeindruckende Präsentation der Bilder wird durch eine sehr moderne individuelle Führung mit Hilfe eines “tablet-computers” zu einem wirklich Erlebnis, das die Reise in die Ardennen zu einem lohnenden Ausflug werden lässt.

The presentation is supported by digital media and becomes an unforgetable experience.

Originally posted at: Cologne Photography / Blog frizim.wordpress.com

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ANDO FUCHS

Saul Leiter Early Color

Es scheint ein Gesetz in der Straßenfotografie zu geben: den einschlägigen sozialen Medien umschaut. Millionen v

There seems to be an unwritten law in street photograph lions of black and white photographs .

Picture 1 1. page of the book

Wie angenehm, ein Buch in die Hand zu nehmen, in dem Saul Leiters Buch „Early Color“ ist ein solches Buch. Die oder verschwinden in wehmütiger Unschärfe. Dabei spie Farbtöne gehen in einander über, unterstützen sich, sind

How pleasant to hold a book in hand, in which urban life Saul Leiter's book „Early Color“ is such a book. Most of h Through this, color plays an important role. It's never brig

Saul Leiter wurde im Jahr 1923 in Pittsburgh geboren. Se 1946 das Theologische Seminar in Cleveland und zog nac

Saul Leiter was born in 1923 in Pittsburgh. His father, Wo moved to New York to become a painter there.

: Sie muss schwarz-weiß sein. Jedenfalls bekommt man den Eindruck, wenn man sich unter dieser Kategorie in von schwarz-weißen Fotografien.

hy: it must be black and white. Anyway, searching under this category in the relevant social media you find mil-

m das städtische Leben so dargestellt wird, wie es wirklich ist, in Farbe. e meisten seiner Bilder zeigen Menschen in Bewegung, oft halb abstrakt lösen sie sich sich in Spiegelungen auf elt die Farbe eine wichtige Aufgabe. Nie ist sich schrill. Vielmehr hat man eher den Eindruck von Monochromie. d eher zurückhaltend als aggressiv.

is shown as it really is, in color. his pictures show people in motion, often semi-abstract, they dissolve in reflections or disappear in wistful blur. ght, brilliant or even flashy. Colors go into each other, support each other, are more reluctant than aggressive.

ein Vater, Wolf Leiter, hatte ihn für eine theologische Ausbildung vorgesehen aber Saul verließ sehr bald im Jahr ch New York, um dort Maler zu werden.

olf Leiter, wanted him to study theology but Saul left very soon in 1946 the Theological Seminary in Cleveland and

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ANDO FUCHS

Saul Leiter Early Color

Seine Bilder sprechen eine abstrakte Sprache, die einen und gelb. Manchmal tauchen auch angedeutete Figuren i Saul Leiter hatte zwar keinen großen finanziellen Erfolg m York.

His paintings explore an abstract language of flat planes also indicated persons appear in his paintings. Although ies of the Lower East Side in New York.

Die Fotografien, die in seinem Buch Early Color gezeigt we Betrachtet man seine Straßenfotografie, gewinnt man s Kollegen wie HCB oder André Kertész inspiriert wurden a Schemenhaft bewegen sich Menschen durch ein Bild. St werden. Mal ist es eine Hand, mal ein Hut oder versc aufgestellte Leiter und ein sich bückende Handwerker. O Farbe taucht. Leiter beherrscht die Kunst des Weglassens

Almost all photographs shown in his book Early Color are Looking at his street photography, one quickly gets the im or André Kertész than by abstract expressionist paintings only details of human presence are shown. Sometimes i the step-leader and a stooping craftsmen. Without that S ingly has mastered the art of omission.

an Landschaften erinnern mit zurück genommenen Farben von violett über mauve bis zu vergänglichem ocker in seinen Bildern auf. mit diesen Bildern, dennoch fanden sie einiges Interesse vornehmlich in den Galerien der Lower East Side in New

s which reminds us of landscapes in soft hues muting from violet and mauve to ochres and yellow. Sometimes Saul Leiter had no great financial success with these paintings, they found some interest primarily in the galler-

werden, sind fast alle in der Fünfziger Jahren des letzten Jahrhunderts entstanden. schnell den Eindruck, dass seine Fotos weit weniger durch die Fotografie seiner berühmten zeitgenössischen als durch abstrakte und expressionistische Malerei. tets werden nur kleine Szenenausschnitte gezeigt, in denen auch nur Details menschlicher Anwesenheit gezeigt chwommen eine Zeitung, die von einem Menschen gelesen wird, den man selbst nicht sieht. Großartig die Ohne, dass Saul Leiter das gesamte Bild zeigt, weiß der Betrachter, dass der Mann gerade einen Malpinsel in die s wahrlich meisterlich.

e taken in the fifties of the last century. mpression that his photos were far less inspired by the photography of his famous contemporaries such as HCB s. Shadowy people move through an image. Only small segments of a street scene are to be seen in which often it's a hand or a hat or a piece of a newspaper beeing read by somebody who is hidden behind a window. Great Saul Leiter shows the entire image, the viewer knows that the man just dips a paintbrush into the paint. He amaz-

309 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

ANDO FUCHS

Saul Leiter Early Color

Picture 2

Bei der Beurteilung seiner Farben muss man ber端cksich chemischen Prozesse, die eingehalten werden musste Filmentwicklung und Herstellung von Prints externen Di Filmen entstanden, die schon lange ihr Verfallsdatum 端b und wurde zuletzt zuletzt auch zum Markenzeichen seine Das Buch Early Color ist im Steidl Verlag erschienen und h

Considering his colors bear in mind that at that time co vented the photographer of that time to use color film. Ev different way to influence the final result: by using old fil phy which has become his personal trademark.

The book Early Color is published by Steidl Verlag and tod Verwendete Quelle: Early Color / Steidel Verlag Source used: Early Color / Steidel Verlag Images by Saul Leiter

htigen, dass zu seiner Zeit die Farbfotografie noch in den Anf채ngen steckte. Die Kosten und die Exaktheit der en, hinderten die Fotografen der damaligen Zeit, den Farbfilm zu benutzen. Auch Saul Leiter 체bergab die ienstleistern. Aber Leiter nahm auf andere Art Einfluss auf das Endergebnis: Die Bilder aus Early Color sind auf berschritten haben. Der chemische Verfallsprozess, der eingesetzt hatte, hat die Farben seiner Bilder beeinflusst er sehr speziellen Farbfotografie. heute nur noch schwer zu erwerben.

olor photography was still in its infancy. The cost and accuracy of chemical processes that had to be used, preven Saul Leiter gave the film development and production of prints to external service providers. But he took in a lm material whose expiration date had already passed for a while he achieved the fading colors in his photogra-

day can be difficult to acquire.

311 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Hors - saison Off - season

Textes extraits de Capitale de la Douleur, La Vie Immédiate, Répétitions de Paul Eluard Certaines photos de Vichy ont été publiées dans le magazine "Grand Angle" n° 6, septembre 1977 Leica CL, Summicron 2/40 - Kodak Tri-X Texts from Capital of Pain, Life Immediate, Rehearsals from Paul Eluard Some pictures from Vichy were published in the magazine "Wide Angle" No. 6, September 1977

313 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Hors - saison Off - season

Textes extraits de Capitale de la Douleur, La Vie Immédiate, Répétitions de Paul Eluard Certaines photos de Vichy ont été publiées dans le magazine "Grand Angle" n° 6, septembre 1977 Leica CL, Summicron 2/40 - Kodak Tri-X Texts from Capital of Pain, Life Immediate, Rehearsals from Paul Eluard Some pictures from Vichy were published in the magazine "Wide Angle" No. 6, September 1977

315 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

Hors - saison Off - season

Textes extraits de Capitale de la Douleur, La Vie Immédiate, Répétitions de Paul Eluard Certaines photos de Vichy ont été publiées dans le magazine "Grand Angle" n° 6, septembre 1977 Leica CL, Summicron 2/40 - Kodak Tri-X Texts from Capital of Pain, Life Immediate, Rehearsals from Paul Eluard Some pictures from Vichy were published in the magazine "Wide Angle" No. 6, September 1977

Series which includes 39 photograp Hors - saison: www.bernardjolivalt.com/P

phs with audio sound at www.bernardjolivalt.com

Photos/Series/HS/HS000.htm

317 THE ANALOGUE STREET COLLECTIVE | NO. 1 | WINTER 2015

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