Skip to main content

Chuck Close: contemporary daguerreotype

Cindy Sherman by Chuck Close
from A Couple of Ways of Doing Something (Aperture 2006)



Chuck Close:
A Couple of Ways of Doing Something
Photographs by Chuck Close
Poems by Bob Holman
Interview with Chuck Close and Bob Holman by Lyle Rexer
Clothbound, 22 tritone images
56 Pages, 11.375" X 14.875"
Aperture 2006

Excerpt from an interview by Lyle Rexer in the book:

Rexer: "And daguerreotypes are unforgiving. In the nineteenth century there were reams written about the fact that if you decided to have a daguerreotype made, you took your self-image in your hands, because nothing would be left out."

Close: "It was more warts-and-all than any other process. Because it’s so red-sensitive, any marks, any flaws are heightened. You have to be pretty comfortable in your skin, and vanity goes out the window. And it’s also physically painful. A normal daguerreotype is a more than two-minute exposure. We’ve made it instant photography by having a billion foot-candles of light go off all at once, and that’s very painful. The flashes are so intense your eyes slam shut. It’s like having an ice pick shoved in your eyeball. You can smell hair burning… Each one of these people who lent me their image with no control over how it’s going to come out, in this act of incredible generosity, had to put away whatever self-image they had of how they looked and accept this other image as being them. That goes beyond generosity."

source: http://www.lensculture.com/close.html

Comments

Popular posts from this blog

Group f/64 Manifesto (1932)

Ansel Adams by Dorothea Lange Group f/64 Manifesto The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group. Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group. Group f/64 limits its members and invitational names to those worke...

Survey photography and the landscape in 19th century America

Carleton Watkins, The Vernal Fall, from the Yosemite Book, 1868 Carleton Watkins. Yosemite Falls and the Merced River. Yosemite National Park. View from the Sentinel Dome, Yosemite, by Carleton Watkins As Ian Jeffrey observed (1),  19th century American landscape photography recorded "virgin" nature in two complementary "modes": in the first, contemplating the novelty, and the magnitude of its subject, the photographer documents vast vistas from the distance, not simply physical distance per se  but a properly visual distance appropriated to handle the unique, novel forms of the subject. In the second, photographic vision "tames" nature and organizes the natural panorama by way of an aesthetic code akin to that of the contemporary landscape painters.  Survey photography by Weed, Watkins or by Muybridge, O' Sullivan, and others, can be seen as a kind of "second" conquest o...

The Photography of Everyday Life: Paul Martin (1864-1942)

Blind beggar at the cattle market, c.1890 Paul Martin British, 1864 - 1942 Platinum print 18 x 22.8cm Dancing to the organ, Lambeth, 1893 Platinum print 10 x 7.5cm The Old Empire Platinum print 17.5 x 23.5cm Southend Beach, 1905 Yarmouth sands, 1892 Link: Victoria and Albert Museum: Exploring Photography