When history must distill what defines underground comix into one creative genius that is the alpha and the omega of that genre…there can be no argument, dispute or question…that name is CRUMB!

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Article Dedication 

In honor of

Irving Penn & O. Winston Link

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I had written a book review for Amazon about a Robert Crumb comix compendium, but they refused to publish it. So I have expanded it some and sharing it here…

Dirty Laundry Robert Crumb Aline Kominsky

Through the years underground comix have showcased the work of many creative artists.

https://en.wikipedia.org/wiki/Underground_comix

Here are a few standouts…

Binky Brown Meets the Holy Virgin Mary Justin Green

Justin Green

Green was studying painting at the Rhode Island School of Design when in 1967 he discovered the work of Robert Crumb and turned to cartooning, attracted to what he called Crumb’s “harsh drawing stuffed into crookedly-drawn panels”. He experimented with his artwork to find what he called an “inherent and automatic style as a conduit for the chimerical forms in [his] own psyche”. He dropped out of an MFA program at Syracuse University when in 1968 he felt a “call to arms” move to San Francisco, where the nascent underground comix scene was blossoming amid the counterculture there. (Wikipedia)

Amputee Love Rich and Rene Jensen

Brent Boates (cover)

Amputee Love - Bikers' Mardi Gras Daniel D. Teoli Jr.

From Bikers’ Mardi Gras artist’s book

Sometimes photogs can find something naturally occurring that parallels what is in the comix. Here is my version of Amputee Love…shot candid in a campground.

The Further Fattening Adventures of Pudge Girl Blimp Lee Marrs m

Lee  Marrs

Twisted Sisters Aline Kominsky - Crumb

Aline Kominsky-Crumb (Married to Robert Crumb)

Zippy the Pinhead Bill Griffith

Bill Griffith

Trucker Fags in Denial Jim Blanchard

Jim Blanchard / Goad

Zodiac Mindwarp Manuel 'Spain' Rodriguez

Spain Rodriguez

He picked up the nickname Spain as a child, when he heard some kids in the neighborhood bragging about their Irish ancestry, and he defiantly claimed Spain was just as good as Ireland (Wikipedia)

Shemale Trouble John Howard

John Howard

Tales from the Leather Nun

Various artists.

Young Lust cover

Various artists

乳房和阴道的中国爱情是传说

Skinheads in Love Bob Fingerman m

 Bob  Fingerman

Jennifer 'Lesbain School Girl' Finch

Petra Waldron and Jennifer Finch

あなたは猫の上に何の力もありません Anata wa neko no ue ni nani no chikara mo arimasenm

あなたは猫の上に何の力もありません

Anata wa neko no ue ni nani no chikara mo arimasen

Tits & Clits Joyce Farmer, Lyn Chevely, Roberta Gregory, Lee Marrs, Trina Robbins. m

Tits and Clits was an all woman publication with many great contributing artists…Joyce Farmer, Lyn Chevely, Roberta Gregory, Lee Marrs and Trina Robbins.

Dyke Shorts Mary Wings m

Mary Wings

Yellow Dog cover m

Various artists

DSC00161 (2) m

Howard Cruse and various artists

Head First S. Clay Wilson

S. Clay Wilson

DSC00156-2 (2) m

Spain Rodriguez

Commies from Mars Kenneth Huey m

Kenneth Huey cover

B.J. Betty Wes Crum m

Wes Crum

Answer Me Frank Kozik m

 Frank Kozik and various artists

Anal Intruders from Uranus Wes Crum m

Wes Crum

Minimum Wage Bob Fingerman m

Bob Fingerman

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When all is said and done and history must distill what defines underground comix into one creative genius that is the alpha and the omega of that genre…there can be no argument, dispute or question…that name is CRUMB!!

San Francisco Comic Book cover Robert Crumb m

Robert Crumb is not only the godfather of the underground movement, he is also one of the most prolific, talented and creative cartoon artists ever. His body of work could easily fill a Crumb museum or two.

Robert Crumb m

An excellent interview – Crumbs early years…

Robert Crumb artwork (2)

Aline Kominsky - Crumb and Robert Crumb

Aline and Robert…the early days.

Robert Crumb artwork (1)

Robert Crumb - David Levene - for the Guardian

Photograph by David Levene for the Guardian

Robert Crumb artwork

The family that lays together stays together - R. Crumb

Robert Crumb 2

Robert Crumb artwork (6)

Araki Being Born - found photographs - Design & Post Processing Daniel D. Teoli Jr. m

‘Araki Being Born’

Found photographs

Concept and post processing by Daniel D. Teoli Jr.

I don’t do much with ‘mental masturbation’ photography.  But, this ‘Araki popping out of a vagina’ was renting space in my head for some time and I wanted to get it finished.  I would have preferred it with Araki pulling himself out with his 2 hands by grabbing the labia, but that is beyond what I can do.

I have a lot of ideas in my head that could be drawn. Sadly, I have zero talent for drawing or painting. If I had more money I’d contact Crumb to see if he wanted to draw me a shot of Araki popping out of a gapped open vagina. I mean, what better else to define Araki? And probably Crumb as well!

The next photo, from the turn of the century, clued me into what can be done with cutouts. The photo of ‘Araki Being Born’ was done as a cutout composite with found photographs. I’m an old film photog and don’t know how to use Photoshop, I’m strictly Lightroom, so went old school with the cutouts.

I had written to Araki to make me this photo and send me a copy (for free) to hang up on my wall. But, Araki is too goddamn high and mighty for a reply. That is how it goes with many a famous photog, pretty much all of them. Anyway, it all worked itself out and is no longer renting head space.

Girl Peeing in Pisspots Collage 1910 Daniel D. Teoli Jr. Archival Collection

From the Daniel D. Teoli Jr. Archival Collection

This brings up another concept to discuss…working things out by getting it all out. Crumb did a lot of this ‘art therapy’ in his work. It is not anything new, if he was a poet he would write a poem, a photog does a photo, a writer types a book, a musician writes a song or lyrics and a choreographer would design dances to get it out.

Robert Crumb with Devil Girl scale model

Crumb with a model of Devil Girl

One of Crumb’s classic comics is A Bitchin Bod. The story unfolds over a few pages, I’ve only included a small snip.

In it, Mr. Natural has transformed the Devil Girl into a zombie like body sans head. The head has been pushed into the body. Mr. Natural shares his bod with Flakey. When Flakey’s conscience gets the better of him, Mr. Natural reaches in and pulls the head back out by the tongue, restoring Devil Girl. To the delight of the lesbian separatists, once restored, the Devil Girl sets out to kick ass.

A Bitchin Bod Robert Crumb (1) m A Bitchin Bod Robert Crumb (2) m A Bitchin Bod Robert Crumb (3)m A Bitchin Bod Robert Crumb (4)m A Bitchin Bod Robert Crumb (5) m

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Robert Crumb

Robert Crumb – Biography

Robert Crumb was born in Philadelphia on Aug. 30, 1943, to a Marine father and Catholic mother. His family moved frequently during his childhood, and moved to Delaware in 1956 when his father retired after twenty years in the U.S. Marine Corps. Robert’s mother often behaved erratically and was probably manic depressive. Robert was a faithful Catholic until he was sixteen. His biggest influence during his youth was his older brother Charles, who loved comics and who co-wrote many of the comics they produced as children. Crumb was anything but popular in high school and felt alienated.

“I was one of those social rejects, but then, you know, a lot of people were — nothing unusual about being an outcast in high school.”

After graduating from high school, Robert spent a depressing year at home, mostly drawing, and talking endlessly about the meaning of life with Charles, who never did leave home. He finally left for Cleveland in 1962 to live with his friend Marty Pahls, and soon found work with the American Greetings Corporation as a color separator.

He was promoted within a year to the Hi-Brow Department, and drew hundreds of cards over the next several years. His job as a commercial illustrator would have an effect on his future work. My boss kept telling me my drawings were too grotesque. I was trained to draw ‘cute’ little neuter characters which influenced my technique, and even now my work has this cuteness about it.

In 1964, Crumb lost his virginity with Dana Morgan, who he married later in the year. They honeymooned in Europe for six months, while Crumb continued to mail in his illustrations for American Greetings.

“I started taking L.S.D. in Cleveland in June of ’65. That changed my head around. It made me stop taking cartooning so seriously and showed me a whole other side of myself.”

After a temporary breakup with Dana, Robert traveled to New York, Chicago, and Detroit during this acid-soaked period and created many of his future characters: Mr. Natural, Mr. Snoid and Angelfood McSpade.

In January, 1967, Crumb suddenly left Cleveland. “I escaped to San Francisco when I met two guys in a bar who said they were driving west.” Dana followed him there, and they eventually settled in Haight-Ashbury. Crumb drew “Zap #1” and “Zap #0” in the fall of 1967 and sold them on the street in 1968 (out of Jesse’s baby carriage).  So marks the birth of underground comics with Crumb as its most recognizable force. His son Jesse was born at this time, in April, 1968.

Robert continued to draw and travel throughout the rest of the decade.

“I was all over the map in ’69. I didn’t spend much time home. I was chasing women all over the place. I lived for a while in a hotel on Mission Street. That’s where ‘Big Ass’ and ‘Snatch 3’ were done. I was so mixed up. I stayed a couple months with Gilbert Shelton and a gang of Texans in Venice, California. I was in Detroit, Chicago, New York. It’s amazing I managed to turn out so much work in that chaotic time.”

In the last months of 1969, Crumb received a $10,000 advance from Ballantine Books for a “Fritz the Cat” book. He used that money as a down payment on a plot of land north of San Francisco in Potter Valley where he, Dana, and baby Jesse moved. In 1970, Crumb began a five-year, on-again off-again relationship with Kathy Goodell, who lived in San Francisco. In the same year, Crumb’s wife gave permission for Ralph Bakshi to use Fritz the Cat in a full-length feature film. Crumb, entirely dissatisfied with the project, soon after killed Fritz the Cat, a character he had created in adolescence.

In the first few years of the decade, Crumb continued to traverse the country and draw. But by 1974, Crumb moved from what had become a commune in Potter Valley and settled down in Madison, California with his new girlfriend, Aline Kominsky (later to become his second wife). He stopped smoking marijuana at that time. He drew a “Mr. Natural” strip which ran in “The Village Voice” for about a year (later compiled as “Mr. Natural #3”). He also started playing banjo and mandolin in the Cheap Suit Serenaders Band, which usually performed in the Bay area.

His revolutionary character Frosty the Snowman (Arcade comics in the mid-seventies) may have brought the wrong sort of attention from the government, because by 1977 Crumb was embroiled in a legal battle with the IRS.

In 1981, Crumb produced and edited a new comic magazine called “Weirdo” which included the work of other artists. Aline’s and Robert’s daughter Sophie was born at this time. In the mid-eighties, Robert decided to let Peter Bagge (and eventually Aline) take over the job as editor of Weirdo so that he could spend more time doing his own comics. While still contributing to “Weirdo,” he created the “Hup 1-4” series in the late 1980’s and early 90’s.

By the end of the 1980’s, with suburban sprawl increasing, the Crumbs became disgusted with America and, at Aline’s instigation, decided to leave. Robert exchanged some of his sketchbooks for their new house in the south of France. Crumb’s friend, Terry Zwigoff, filmed Robert and his family before they moved and the resulting documentary “Crumb” achieved some success at the box office in America and some countries in Europe.

Except for the occasional expedition to Paris or America, Crumb has nestled himself in the south of France, where he is hard at work on a long-term project illustrating the book of Genesis. He owns almost five thousand 78 RPM records in his collection. His son Jesse lives in Northern California. His daughter Sophie lives 45 minutes away from her parents. Aline is pursuing her interests in comics, painting and sculpting.

Comic Timeline:

http://www.crumbproducts.com/pages/about/time.html

This biography was written by Alexander Wood and was edited by Robert Crumb.

Source: http://www.crumbproducts.com/pages/about/history1.html

A great interview with Crumb and Gilbert Shelton…

Robert Crumb and Aline Kominsky-Crumb at home - Eamonn McCabe for the Guardian - Post P. D.D. Teoli Jr. m

Aline Kominsky-Crumb and Robert Crumb at home

Photograph by Eamonn McCabe for the Guardian

Post processing for photo as shown:  Daniel D. Teoli Jr.

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Girls of the Beat Generation Daniel D. Teoli Jr. Archival Collection

From Girls of the Beat Generation

A forthcoming 6 volume artist’s book series by social documentary photographer Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/04/21/girls-of-the-beat-generation-artists-book/

A complete list of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

 

Do mistakes count?

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Within a couple of hours of joining the Rangefinder Forum someone PM’d me telling me self-published books ‘don’t count’ – that only commercially published books count.  He then went on to say donating unsolicited photos to museums doesn’t count, that I have no critical reviews, no one-man shows and on and on. He did his best trying to tear me down. He was a photography teacher at an art school. He didn’t give me his name or the school’s name…but I can only hope he was more positive with his students.

Well, I’m used to online critics, especially ones that like to do their evil in private, so it was no big deal for me.

https://danielteolijr.wordpress.com/2015/05/10/opinions-are-like-assholes-everyones-got-one/

This type of negative thinking is all over the photo forums…especially if you do something different or on a different wavelength.

A camera fondler on one of the forums had asked “Do mistakes count?”

kertesz broken glass plate

André Kertész gave his verdict on mistakes…the accident that broke his glass plate in the photo above ‘made the photo’ and he was proud of it!

This photograph (actually one similar, since the original was a one-of-a-kind) was the first photograph I had accepted into a museum in the early 1970’s.

The story behind it is an interesting one. I had taken the photograph with a Hasselblad 500CM in the coat room at the company I was working for as a process cameraman. I didn’t like one of the work prints I had made at home, so I trashed it partially processed.

When I was emptying the trash can in my darkroom later that week, I noticed the print of the coat hanger had become solarized. It had also developed an interesting stained patina from the chemicals. So, I pulled it out of the trash and finished processing it. I dry mounted it and put it in my portfolio.

A while later, I was showing some of my prints at the Los Angeles County Museum of Art. (Back in the day, you could actually get the curator on the phone to set an appointment!) The then curator of photography liked the coat hanger photo and it was put in LACMA‘s permanent collection. I was a young kid of 19, so I didn’t tell the curator the story behind it. Nowadays I know better and would not be ashamed of the backstory.

There are many stories in the art world how mistakes turned into masterpieces.

http://www.huffingtonpost.com/claire-fordham/the-art-of-mistakes_b_6550490.html

Same in science…

http://mentalfloss.com/article/53646/24-important-scientific-discoveries-happened-accident

As writer James Campbell (Author of This is the Beat Generation) wrote:  “He’d (Kerouac)  would make a mistake (typing On the Road) and this would lead him off into a possible part of a new paragraph, into a funny riff of some kind.”

Within a few months after I joined Rangefinder Forum the controlling prick that runs things gave me a lifetime ban. It was no great loss getting the boot, very little useful ever comes out of that forum other than your typical camera fondler topics. And in reality it works out better for me as I can read the forum and comment exactly as I want to on my blog without censorship and repercussions.

Always remember, there are no photo police or head photo accountants to say what counts and what does not count. Many times the only thing holding you back from getting that iconic shot is your ego, fear and your pet prejudices.

Unless your a camera fondler or a constipated anal perfectionist, the job IS to get the shot…get it any way you can!.

“Sometimes you can force luck” ~ Frank Doorhof

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Joe at Doorway - Gender Benders from the 1970's 1974 Daniel D. Teoli Jr. m

From   Gender Benders from the 1970’s

a limited edition artist’s book by

Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2015/05/16/genders-benders-from-the-1970s/

 A complete listing of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

What Does it Take to be the ‘Curator of Photography’ at an Art Museum?

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Article Dedication

In honor of

Andreas Feininger & Harry K. Shigeta

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Taken in part from my forthcoming artists’ book:

Presenting Photography to Curators and Museums

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What does it take to be a Curator of Photography for an art museum?

Well, one thing is for sure, the job does not require the applicant to have the ability to be able to produce museum quality photography themselves. What IS required are academic and communication skills more so than art skills.

Here is an example job listing for a Curator of Photography …

The Curator of Photographs will have overall responsibility for conservation and development of the Museum’s holdings of photographs. The Curator of Photographs will be responsible for, but not limited to, performing the following jobs:

  • Cares for, researches, documents, exhibits, preserves (in consultation with the Conservation Department), and publishes works of art in the permanent collection, including those in storage or display.
  • Provides overall direction to the department and its activities including the mission, goals, and strategies of the Art Museum.
  • Demonstrates curatorial responsibility for all art objects within the aegis of the curatorial department, and works in cooperation with other curators where departmental responsibilities for art objects overlap, for example with contemporary art or where an artist is ascribed dual nationalities.
  • Responsible for the generation of temporary exhibitions, whether from concept or by assignment, organized by the Museum or by another institution. Exhibitions involve organizing, researching, writing, supervising and/or coordinating details such as lectures, catalogues, brochures, labels, installation, photography, gallery tours, publicity, fund raising, presentations on the exhibition topic, selection and negotiation of loans, hosting lenders and artists, and preparation of and adherence to budgets.
  • Lectures and writes on works of art in the Museum’s permanent collection for meetings and/or publications, within the limits of curatorial specialties.
  • Seeks and recommends new acquisitions of gifts or purchases within the curatorial specialties, including research and background studies to justify acquisition of an art object.
  • Gifts and purchases are recommended by the Curator to the Chief Curator, who recommends them to the Deputy Director who recommends them to the Director who ultimately recommends them to the Acquisitions Committee and Board. No works of art may be purchased or accepted as gifts without the Director’s and the Board’s approval.
  • Responsible for maintaining and adhering to budgets, including those related to permanent installations, temporary exhibitions, the department and special projects. Supervises departmental staff, including volunteers. The Curator of Photographs must be able to create and manage program budgets.
  • Furnishes consultation and advice on art matters to other museums, public and private collectors. At no time does the curator suggest financial appraisals.
  • Installs and labels works of art in the permanent collection.
  • Responsible for docent training, public lectures, gallery talks, and press education for projects. 
  • Supports the fund-raising and public relations efforts of the Museum, in coordination with the divisions of Development and Marketing.
  • Serves as liaison between the Museum and departmental visiting committees. Represents the Museum at social and civic events.
  • Serves on various committees and attends meetings as required by the position.
  • Acts as courier in the U.S. and abroad. Attends conferences and lectures, and visits museums and dealers in U.S. and abroad.
  • Performs miscellaneous duties as assigned by the Chief Curator.

Requirements: M.A. in Art History (Ph.D. preferred) with a minimum of five years experience in the field.

Skills necessary: A proven ability to work successfully with others to achieve institutional objectives. Must possess a broad familiarity with photographs; a demonstrated knowledge of museum practices; excellent written and oral communication skills; good working knowledge of database, word processing, and other relevant computer programs; and a commitment to both scholarship and working with diverse public constituencies; ability to present information effectively and respond to questions from museum staff, donors, members of the museum, and the general public.                              

—-End—-

If you solicit museums to purchase or accept your work as a donation,  there is a good chance you will get rejected.

#1  With 2 billion cellphone cams at large, the photo market is sickly polluted with images. Many great photogs are ignored, snubbed or passed by. Don’t feel bad if you are greeted with the same enthusiasm as would be shown to a homeless person offering someone a sack of shit.

#2  Art museums seldom buy photography, they prefer to have it donated.

#3 The person doing the rejecting is not a museum quality photog themselves…good chance they are just an academic.

#4  A major hurdle…

Gifts and purchases are recommended by the Curator to the Chief Curator, who recommends them to the Deputy Director who recommends them to the Director who ultimately recommends them to the Acquisitions Committee and Board. No works of art may be purchased or accepted as gifts without the Director’s and the Board’s approval.”  

Taste in art is so different between people. Getting everyone on board can be tough. If freezing time is in your blood, none of this matters. You need to just suck it up and move on. If you can’t take rejection…don’t be an artist.

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Joe at Doorway - Gender Benders from the 1970's 1974 Daniel D. Teoli Jr. m

Hollywood, CA 1974  Joe at Doorway

From: Gender Benders from the 1970’s

a limited edition artist’s book by

Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2015/05/16/genders-benders-from-the-1970s/

 A complete listing of artist’s books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

Also see the 6 volume Flappers artist’s book series:

https://danielteolijr.wordpress.com/2016/07/01/announcing-the-flappers-artists-book-series-by-daniel-d-teoli-jr/

The Flappers artists' book 2016 by Daniel D. Teoli Jr.

You gotta love the guy with the Minox!

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Weegee - Betty Page m

Betty Page by Weegee

Homage to Weegee copyright 1974 Daniel D. Teoli Jr. mr

Homage to Weegee – 1974 by Daniel D. Teoli Jr.

Homage to Weegee 2012 copyright 2012 Daniel D. Teoli Jr.

Homage to Weegee – 2012 by Daniel D. Teoli Jr.

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Unisex Bathing Suits 1970 Tokyo Daniel D. Teoli Jr. Archival Collection m

From Gender Benders from the 1970’s

a limited edition artist book by

Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2015/05/16/genders-benders-from-the-1970s/

 A complete listing of artist books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

Ansel Approves of Digital Photography

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Here is an interesting video the BBC did on Ansel Adams…

I was surprised to see Ansel using a Polaroid back to check comp and exposure. In the video Ansel talks glowingly about the future inferring to the digital age.

Well…Ansel proves he is not as anal as was previously thought!

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From Gender Benders from the 1970’s

a limited edition artist book by

Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2015/05/16/genders-benders-from-the-1970s/

 A complete listing of artist books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

Would you ever pay a person to take their photo?

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Article Dedication

In honor of

Minor White & Susan Meiselas

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Would you ever pay a person to take their photo?

That was a question posed on one of the online blogs. They were not talking about hiring models for commercial shoots, they were referring to documentary photography or street photos.

I find more and more people are requesting $ for photo access. Many people are having a tough time getting by in today’s high priced world and a little extra money helps buy some essentials.

In the Shadow of City Hall V25 2015 Daniel D. Teoli Jr. mr

In the Shadow of City Hall – Homeless tent encampment Los Angeles 2015

(…shot through my windshield, unfarmed, while driving to the airport.)

https://danielteolijr.wordpress.com/2015/10/30/richard-gere-and-the-homeless-prank/

With my own work, the general rules I use are:

  1. I try to shoot candid photos.
  2. If I can’t shoot candid, then shoot posed.
  3. If I shoot posed and they don’t ask for $, I don’t offer.
  4. If they request money and I want to shoot them then pay them something or pass on the shot.

LAS Busker Daniel D. teoli Jr. thin border mr

I gave this guy a buck cause I liked his sign. I could have got the photo candid while walking by, but it would not look the same, so I paid. If I wanted this style of shot, I could have been an asshole, squatted down, shot him and walked off without a payment. But is it worth being an asshole over a lousy buck? Is the photo less honest over a lousy buck??

(BTW, he had a set of different signs. If one sign was not producing he would pull out another sign.)

The homeless guy below was trying to sell a candy bar. I grabbed a quick candid shot while walking by. I didn’t buy the candy bar or give him any money.

Homeless man selling a candy bar - Las Vegas 2016 Dainel D. Teoli Jr. - cm

Infrared flash photo

People know the photog ‘needs subjects’ so they can successfully press the button if they specialize in documenting the human condition. So, if the photog needs a subject, it is not out of the question that the person wants something in return for their time.

Back in the 70’s photography was esoteric…now a toddler can do it…even a monkey can do it! I still approach people to let me into their houses to document them, but I very, very seldom get any takers. Nowadays everyone has a cell phone cam and a inkjet printer from Wal-Mart. I’m effectively shut down. They are self-sufficient and don’t need me.

Sure, I’d pay if I want access to shoot a person if they wont give me photo access for free.  Seems to me if a subject requests money for access and the photog does not want to pay, the photog is trying to exploit the subject by getting around a honorarium request.

Eve Arnold paid $1000 in the late 1959 for access in shooting her black Muslim project. ($1000 in 1959 is = to about $8,000 nowadays.)

http://www.wsj.com/articles/SB10001424052970204257504577150641295316770

Bottom line…a photo is either honest or it is a phony – paying money for access has nothing to do with it. If you like the subject that much, pay them. If they are not that interesting to you, don’t pay them.

Thomas Dworzak sums things up…

“In many cases good photojournalism comes down to who’s got the best fixer.” 

And fixers don’t work for free. I’ve had to pay a few people for access. Other times even money wont gain access. When I first met Barbara LeMay in the 1973  I paid her $20 for photo access. She lived in Hollywood and worked at various business ventures from modeling to sewing for strippers to adult entertainment. Her body was part of her livelihood. Should I have been an anally principled photog and told her, “No Barbara it is against my principals to pay you for your time. You cannot eat off me or pay your rent.”

Yet, when it come time for all the sunset and burning steel wool photogs to demand money for their generic crap they MUST be paid.

 

64 Barbara LeMay Copyright 1974 Daniel D. Teoli Jr.

This next shoot did not require any $…she was happy to get some free photos.

Stripper on Rooftop copyright 1974 Daniel D. Teoli Jr.

When I did this next project I had 5 days to make a book. No time to screw around.

http://dewallenrld.tumblr.com/

I would be fooling myself to think I can go to a strange city for 5 days and make friends with prostitutes to let me have photo access to shoot them for free. Just not going to happen…esp as a male. Maybe women can make friends over time with prostitutes – but males are always looked at as customers.

I tried paying 40 to 50 girls for 5 -10 minutes of time. The few that did accept a pay for access offer ended up cheating me. So I put my highly honed doc skills to work, left the money and aggravation out of the equation and just took candid pix. That suits me fine, I’m not really a people person when it comes to interactions anyway. I’m more like Cartier-Bresson…I just like to press the button and stick to candid street photography which I excel at.

https://danielteolijr.wordpress.com/2015/11/16/shooting-from-the-hip/

Same with this project…I only had a few hours to shoot the photos for an entire book project. Since I am a fast shooter and highly skilled at documentary photography, I was able to finish the principal photography for the book in 4-1/2 hours…but I had to pay for access.

https://danielteolijr.wordpress.com/2015/10/21/a-day-in-the-life-of-a-drag-queen/

If I did not offer an honorarium, I doubt whether I would have received any interest in the project. Over a 6 week period of advertising for a subject I received 21 applications for the project. As things progressed, 20 out of 21 eventually flaked out. That is pretty pitiful reliability odds for booking a $2500 dollar trip to L.A.

If my last person had flaked out I would have had nothing to show for that trip…if it was a single project trip. But having nearly 50 years shooting social doc work I know how people are. I had scheduled to shoot for 6 book projects during my L.A. trip. Even if one or two projects were a bust I would still have something to show for my investment.

Pay to play is nothing new for photogs. I read a bird photog had to pay thousands of $ for boat charters and chum bait over a couple week birding trip. While the birds didn’t require a direct payment of $, they still required food to cooperate.

I had to pay nearly $200 for access to get these shots. The people didn’t charge me any $…the $200 was for a  ticket to get in. (Plus I lost close to a thousand dollars from broken and damaged gear.)

L1003119 V19 mr L1003231_-V15 7.5 x 7.5

13Whoop-Whoop 73 Daniel D. Teoli Jr. mr 11Whoop-Whoop 33 Daniel D. Teoli Jr. mr 21Whoop-Whoop 21 Daniel D. Teoli Jr. mr 22Whoop-Whoop 123 Daniel D. Teoli Jr. mr (4) 37Whoop-Whoop 111 Daniel D. Teoli Jr. mr

These gals make a living out of tips. I gave them a ‘fiver’ to hold still for me for a few seconds. Should I have tried to beat them out of their livelihood?

Freemont Street no.2 Copyright 2014 Daniel D. Teoli Jr. lr

Sure, I could have got something candid, but every shot cannot be perfected or even obtained as a candid. Now, I do more than my share of candid work sans payments. Shooting candid is not a problem for me. I hold the world record for how close a photog can get to a subject and still shoot a candid.

The candid shot below was less than a foot away…and I have them going down to 2 or 3 inches away from the subject…all candid.

Order Women Like Pizza Daniel D. Teoli Jr. v29 mr Order Women Like Pizza Copyright 2014 Daniel D. Teoli Jr.

Order Women Like Pizza – 2014

But candid photos cannot always perfect the situation. So sometimes cooperation is needed from the subject and a little money can many time buy cooperation.

These gals from Brussels were on a Hen Party in Amsterdam. They wanted 10 Euros for a pix. I told them I was not going to pay any $, but I did offer to put one of my stickers on the bride elect…Pole Dancer of Ross County. They wanted 5 Euros for the sticker placement. When I told them no, they accepted the sticker for free on the brides stomach.

Hen Party Amsterdam Copyright 2014 Daniel D. Teoli Jr. w 'Pole Dancer Ross County' Copyright 2012 Daniel D. Teoli Jr JPEG fr

Pole Dancer of Ross County

If you cameras fondlers are caught shooting a person and they come up to you and ask for a few bucks, just give them something. You took something from them…they helped you out being your model…now you help them out. If they ask for $, don’t offer to email them a pix of themselves. That is not what they want. If you don’t want to pay, apologize and offer to delete out of courtesy to them.

A gal in Hollywood died over this exact same scenario I am telling you here. She took a pix, refused to pay a $1 tip and got stabbed to death. (I read elsewhere she may have mouthed off and the argument escalated. Don’t add fuel to the fire, delete, apologize, be courteous and keep your mouth shut. Beside guns and knives, ‘mouths’ are another big killer of people.)

http://articles.latimes.com/2013/jun/19/local/la-me-0620-hollywood-killing-20130620

Here is the Hierarchy of Documentary Photography, which I have developed.

1. Candid events unfolding as they happen.

This is the most desirable of the hierarchy. It takes special talent to take photos candid. Candid street photography is what separates the men from the boys.

2. If it cannot be perfected or obtained as a candid, then the photo must be posed.

If I did resort to asking a person for the shot, would it be any less real or honest? Well, maybe not as real as an ‘off the cuff, natural moment,’ but it would still be real and factual. What about if they asked me for a couple of bucks to let me shoot them? Any less honest? No…I just had to pay an access fee.

3. If it cannot be perfected or obtained as a posed photo, then it must be staged with the proviso it is a recreation of past events, preferably with the actual persons reenacting the events.

4. Figments of the imagination. Varies in documentary value.  Can be based on pure speculation or a recount of events.

Now, hierarchy or not, there are certain shots that I wont recreate as it misses the whole point of getting the shot.

For instance, one of my projects is shooting candid photos of people yawning.

10 Minutes Past Midnight – 2016 Infrared flash photo

The other day I saw a busker in diapers and a bib. He opened up with a nice big yawn. I would have loved to add that one to my collection, but just could not get close enough to get the shot in time.  I would never ask him to recreate the yawn for a staged pix with or without a payment. My yawn project is based on getting candid yawns and not in staging phony shots. I just had to suck it up and accept…I can’t get em all.

Further reading…

https://danielteolijr.wordpress.com/2015/10/15/the-americans-60-years-after-frank-what-it-is-and-what-it-isn’t/

https://danielteolijr.wordpress.com/2015/07/27/self-defense-for-the-street-photographer/

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Photos used for illustration in this post are from the following limited edition artist books by Daniel D. Teoli Jr.

The Americans…60 years after Frank

Peephole: Peering Into the World of 1970’s Hollywood and L.A.

Encyclopedia of Photographic & Fine Art Ink Jet- Printing Media -12 Volume Set

De Wallen: Amsterdam’s Red Light District

Whoop-Whoop

180: The circular fisheye at large!

Secrets of Candid Photography

Piercing Darkness

Gender Benders from the 1970’s

De Wallen Graffiti 2014 Daniel D. Teoli Jr.

Why I left Fuji for a Leica M…

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Article Dedication 

In honor of

Col. Townsend Whelen & Robert De Niro

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Over at the Rangefinder Forum a member posted how he made the switch from a Fuji to Leica…

Registered User
Join Date: Aug 2011
Location: Sweden
Posts: 593
Why i left Fuji for Leica M.

Hi!

I have been shooting film Leicas for the last couple of years. When i decided to switch to digital i did what a lot of people do, i bought a Fuji X. I first tried the Fuji X-Pro 1 with a 27mm and a 18mm. The pictures looks good but the camera is too slow. Even if i shoot manual there is a lag where the camera adjust the aperture blades or something. There is no feeling at all when manual focusing a Fuji x-pro1. And the AF is so slow.

I now bought a Fuji X100t because folks on internet forums say that it is really close to shoot a Leica. But it’s not! The x100t is also slow and have a shutter lag at fully manual. Also the manual focus is bad because of the focus by wire. Sure, the pictures are great and the AF is good in good light.
But still, shooting with a film Leica spoiled me. Sadly the only option with a rangefinder/ovf is a digital Leica. Having already spent $2900 on the Fuji x100t and the X-pro1 i thought that i could sell them and by a used Lieca M9. In my search i found a brand new M-E for $3300. I sold my gear including my film leicas and bought it. And WOW. Sure, its old, has a bad ISO (after 1600) and a crappy screen but it is responsive and does what i expect from a camera.

I may just be old fashion but i like to put the M-E in manual and shoot, no A, T or P mode. Meter with a handheld meter and when i click the shutter button it takes the picture. Leica film cameras are still in a world of its own but the digital M is close.

Maybe this post is boring, sloppy written and unnecessary but it may give some guidance for people in the same position.

/Rikard

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Well, Rikard is right and he is wrong. He is right that the A,T & P mode sucks for street –  doc work. But Fuji X already has a shutter speed dial. I shoot both Fuji and Leica. If you know your stuff, the Fuji is plenty fast…you just have to shoot it like a Leica.

Weegee was wrong when he said there are no candid cameras there are only candid photogs.  Some cams are more conducive to candid work than others. From the very beginnings of photography photogs have been fascinated about taking candid photos of people and people have always seemed to have an aversion to be photographed candidly.

Vintage Spy Camera

But, the sneak photog does not have to resort to spy cams to get the shot. They just need to refine their candid skills and use a camera that helps instead of hinders their ability to do good candid work.

When Fuji came out with the X-Pro a few years ago I gave it a whirl. On the photo forums they would call the Fuji a ‘Leica killer.’ As they and I quickly found out,  the Fuji was no Leica. (But in Fuji’s defense, the Leica is no Fuji either.)

I found the X-Pro to be a very frustrating camera to use. Too many buttons and complications for me.  I was disgusted with the X-Pro complications, horrifically poor AF and and terrible focus-by-wire so I pushed it aside.

Now, no doubt the camera fondlers love it…the more buttons, menus and complications, the better they like it.

I cover camera fondlers in detail here…

https://danielteolijr.wordpress.com/2015/08/07/the-camera-fondlers-delight-pimping-their-cam/

Once Fuji came out with the X-E1. I found the X-E1 more to my liking. The main problem with all Fuji’s is its poor design. Too many buttons, terrible AF in low light and poor manual controls. Every time you pick up the Fuji some button is getting set off.

The engineers that design this crap are NOT great documentary / street photographers themselves…they are camera fondlers.

Camera Fondler copyright 2015 Daniel D. Teoli Jr. mr

How do I know the engineers are camera fondlers and not great street and documentary photographers themselves?

Well, I’m not a bible thumper or even religious, but the  ‘Good Book’ gives us the answer…”You will know the false profits by their fruits.” As such, a competent documentary / street photographer would not produce this garbage…only a camera fondler would. It goes up and down the chain of command as well. The Director and Board approves of it, the beta testers approve of it…camera fondlers one and all.

The 2 worst inventions that came down the pike from the camera fondling engineers were the program dial that replaced the shutter speed dial and Fuji’s terrible focus-by-wire. They (Fuji and the rest of the cam / lens companies.) keep dummying down the lenses, removing controls like distance scales for zone focus work and aperture controls and turning gear into useless garbage when it comes to serious documentary work.

To Fuji’s credit, the Olympus Pen Micro Four Thirds cameras are even worse for simplified manual controls. I cover them here:

https://danielteolijr.wordpress.com/2015/05/11/the-mighty-m43/

The Fuji has a very irritating feature that has caused me to miss some shots in the past. If the camera is not adjusted in a certain way the flash wont fire. By the time I reprogram everything to make the flash work, the shot it gone. Great work camera fondling engineers!

Most of the lenses Fuji makes are outstanding for IQ. No one can fault Fuji for their optical formulas. But the manual controls on the their lenses range from poor to terrible.

I shot this with a 14mm Fuji on the X-E1. When I use the 14mm on the street or doc work I have to use gaffers tape on it to keep the aperture ring in place. If you blow on the ring it almost moves. Why didn’t Fuji’s ass kissing ‘yes men’ say something about this problem? Within 10 seconds of unboxing the lens I knew the ‘loose as a goose’ aperture ring was going to be a problem child. Fuji beta testers? All butt kissing, brown nose yes men…useless.

Twenty-Six Roadkills artists' book no.9 Daniel D. Teoli Jr.

The distance scale is also screwy on the 14. But I guess we should be grateful for even having one. Fuji later removes the distance scales from some of their lenses. The trend is to remove as many controls as possible from the lenses to make them impotent.

http://photohostsnapshots.tumblr.com/image/124483179768

Zeiss and Leica lenses can be zone focused just by touch…you don’t even have to look at the lens. You talk to the newschool photogs coming up about ferrotype plates, dye transfer printing, nitrogen burst processing or zone focusing and they don’t know what your talking about. Lots of information gets lost between generations.

When I complained about zone focusing problems with Fuji lenses with no focus scale to the Fuji Rumors crew the head honcho told me just to just look at the distance scale on the cameras screen. The whole point of zone focus is to be able to shoot fast without having to adjust the camera by bringing it up to your eye to focus it.

27 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr.

That was how this candid was shot…zone focused with the X-E1. If I shot the Fuji like a Fuji I’d get nothing. You can’t put the camera up to your face to adjust things by looking at your screen or though the viewfinder. If you get caught shooting in the Red Light District you can get your ass kicked. (For you camera fondlers…go across the canal, hide and use your zooms.) The only way the Fuji produces in tough situations like this is if you shoot the Fuji like a Leica.

Leica perfected what is needed in a great documentary cam eons ago. All the Japanese had to do was copy it and make it affordable. Was that too much to ask of the camera fondling engineers? Be this as it may, if you know cameras and have street skills you can still make the Fuji sing loud and clear in almost any conditions. The answer is to shoot the Fuji like a Leica.

Happy Hour copyright 2013 Daniel D. Teoli Jr. mr

Well enuf talk, my name is not Rockwell or Sontag. I don’t talk photography…I produce photography...specifically museum quality, social documentary photography.

Here are some samples shots from the Fuji X-E1. Everything is hand held, no tripods. Lets get to it!

Bikers Mardi Gras Cover Copyright 2013 Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from Bikers Mardi Gras copyright 2014 Daniel D. Teoli Jr.46 Man Cock Ring Copyright 2014 Daniel D. Teoli Jr. LR.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

9Whoop-Whoop 123 Daniel D. Teoli Jr. mr (5)

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

Bikers Mardi Gras no. 88 copyright 2014 Daniel d. Teoli Jr. mr

DSCF4894-2 mr

GOTJ copyrright 2014 Daniel D. Teoli Jr. mr

GOTJ copyrright 2014 Daniel D. Teoli Jr. mr.

'Dirty Dancing' Copyright 2013 Daniel D. Teoli Jr V6

The Kiss Copyright 2014 Daniel D. Teoli Jr. mr 11 DSCF5458 mr 35Whoop-Whoop 71 Daniel D. Teoli Jr. mr 32Whoop-Whoop 13 Daniel D. Teoli Jr. mr 30Whoop-Whoop 16 Daniel D. Teoli Jr. mr 23Whoop-Whoop 123 Daniel D. Teoli Jr. mr (6) 25Whoop-Whoop 123 Daniel D. Teoli Jr. mr (8) 5Whoop-Whoop 1 Daniel D. Teoli Jr. mr 4Whoop-Whoop 111 Daniel D. Teoli Jr. mr 8Whoop-Whoop 123 Daniel D. Teoli Jr. mr (2) 17Whoop-Whoop 23 Daniel D. Teoli Jr. mr  22Whoop-Whoop 123 Daniel D. Teoli Jr. mr (4) 21Whoop-Whoop 21 Daniel D. Teoli Jr. mr

DSCF4184 Selection from De Wallen 2014 Daniel D. Teoli Jr. mr 82 DSCF3328 v16 5 X 7 mr 39 De Wallen Copyright 2014 Daniel D. Teoli Jr. mr 28 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 21 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr

43 Sex Tool Copyright 2014 Daniel D. Teoli Jr. mr. 42 Sex Tool Copyright 2014 Daniel D. Teoli Jr. mr. 49 sex tool Copyright 2014 Daniel D. Teoli Jr.. mr. 43 DSCF4252 V14 mr

Below is an example of push processing the 16mp Fuji X-E1 file 2 to 5 stops.

This is an area where the Fuji sensor could use some improvement. I shoot a lot of available light in tough circumstances. I push process a lot. Any image will fall apart if you push it too much. I would like to see Fuji’s images fall apart a little less when pushed. (See man’s face.)  Man pushed 4.5 to 5 stops. Woman is pushed 2 to 2.5 stops.

De Wallen Selection Copyright 2014 Daniel D. Teoli Jr. DSCF Sample No PP mr

35 Sex Tool Copyright 2014 Daniel D. Teoli Jr. mr

Twenty-Six Roadkills artists' book no.12 Daniel D. Teoli Jr. Twenty-Six Roadkills artists' book no.22 Daniel D. Teoli Jr. Twenty-Six Roadkills artists' book no.25 Daniel D. Teoli Jr.

Lost Princess Copyright 2013 Daniel D. Teoli Jr. mr

In summation…

I’ve used the X-E1 in many different circumstances. If you know how to use the Fuji, it can produce.The Fuji has a superb sensor in it. Most of the time I prefer the images that come out of my Fuji to those that come out of my Leica M240.

But the Fuji has many design flaws that would make it useless for serious documentary work unless you know how to circumvent these problems…poor low light AF, terrible focus-by-wire, dummied down lenses with poor or no manual controls, loose controls that need to be taped down, an excess of complexities and buttons that are continually getting set off by accident… just to name a few.

Santa Monica copyright 2013 Daniel D. Teoli Jr.mr

Shot with Fuji X-E1, Fuji 14mm and a roll of gaffers tape.

If you shoot the Fuji like it was designed by the camera fondling engineers at Fuji, you will be left scratching your head and wondering what happened. Shoot the Fuji like a Leica and you will get some great shots…if getting great shots is in you to start with. If greatness is not within you, stop fondling your gear, get a boyfriend or girlfriend and use your cam for what it was intended for.

At the Fair copyright 2013 Daniel D. Teoli Jr.

“Yes…Yes…Yes…photography is like that and there’s no maybes. All the maybes go to the trash. There is a tremendous enjoyment in saying yes, even if it is for something you hate. It is an affirmation…Yes!” ~ Cartier-Bresson

Photos used herewith are taken from the following limited artists’ books

by Daniel D. Teoli Jr.

Peephole: Peering Into the World of 1970’s Hollywood and L.A. – 2013
Twenty-six Roadkills – 2013
Encyclopedia of Photographic & Fine Art Ink Jet-
Printing Media – 12 Volume Set – 2014
Bikers’ Mardi Gras – 2015
De Wallen: Amsterdam’s Red Light District – 2015
180 – The Circular Fisheye at Large – 2016
A Day in the Life of a Drag Queen – 2016
The Americans…60 years after Frank – 2016
Whoop-Whoop – Forthcoming
Presenting Photography to Curators and Museums – Forthcoming
Yum! – Forthcoming
Secrets of Candid Photography – In Development

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Girls of the Beat Generation Daniel D. Teoli Jr. Archival Collection Selection from Girls of the Beat Generation Daniel. D. Teoli Jr. Women of the Beat Generation - Daniel D. Teoli Jr. Archival Collection (1)

From Girls of the Beat Generation

A forthcoming 6 volume artists’ book series by social documentary photographer Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/04/21/girls-of-the-beat-generation-artists-book/

A complete list of artists’ books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

De Wallen Graffiti copyright 2014 Daniel D. Teoli Jr.

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What camera makes you happy? Why?

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Article Dedication

In honor of

Fred Waller & Paul Mantz

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From the Rangefinder Forum…

neo-romanticist
kbg32's Avatar
kbg32 is offline
Join Date: Jan 2005
Location: New York, New York
Posts: 5,482

What camera does make you happy? Why?

Seems that many of us here are never satisfied and are constantly bashing this camera or that, based on minimal reviews, never having even held them, others opinions, and even before they are officially released to the buying public.

Well what cameras does make you happy? Why? It must be a camera that you still use.

__________________
Keith

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Keith, in short, I love a camera that produces quality images, is affordable and I don’t have to fight. That is what makes me happy.

Fighting your gear is a big problem nowadays Keith. The young gun, camera fondling engineers design equipment that is terrible for fast, candid work, which is my specialty. It is a constant battle having to work around some of these terrible designs.

Cameras are tools for freezing time. As such, there can be no one best tool, as many jobs require different tools. This is like saying a screwdriver for heavy machinery repair is also the best tool for a watchmaker needing a screwdriver.

But the camera fondlers are always on a constant search for owning The BEST! Since they can’t produce the best photos, what else is there to give them satisfaction?

?????????????????

The photo above was done with an 6MP Epson RD-1…that is 6MP!! A camera fondling, pixel peeper would never go for a lousy 6 MP…would they?

I shot it by chance while wondering around on lunch break.  It is in a number of museums and public collections. None of the institutions asked what MP cam I used.

As I will tell you time and again…it is the photographer and not the camera! Over close to 5 decades of shooting, I’ve used many, many types of cameras and have put pix from most of them into many museum and curated collections worldwide.

http://photohostsnapshots.tumblr.com/post/123975547363/los-angeles-county-museum-of-art-California

Fondlers de l’appareil photo … passent moins de temps avoir des érections par doigter vos caméras et et plus de temps en appuyant sur le bouton.

The next 4 photos were were done with a little 20MP Sony P&S. I keep it on the dummy setting. As an old film photog I am used to manual controls, I don’t know how to adjust these damn things.

Dancing Queen Bride Copyright 2014 Daniel D. Teoli Jr. mr

Twenty-Six Roadkills artists' book no.18 Daniel D. Teoli Jr.

Fourth of July 2013 copyright 2013 Daniel D. Teoli Jr mr

Twenty-Six Roadkills artists' book no.13 Daniel D. Teoli Jr.

The 6 photos below were done with a 12 mp Oly M43. Same thing, I keep it on the dummy setting. I can’t figure them out. The camera fondling engineers ruined these cams for on-the-fly adjustments. The new models have touch screens…great  work camera fondling engineers…now the settings get screwed up if you blow on it.

I cover camera fondlers in detail here…

https://danielteolijr.wordpress.com/2015/08/07/the-camera-fondlers-delight-pimping-their-cam/

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Selection from 'Bikers' Mardi Gras' artists' book by Daniel D. Teoli Jr.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Homage to Weegee 2012 copyright 2012 Daniel D. Teoli Jr.

The 2 photos below were done with a $99 Pentax K1000 in the early 1980’s…it is the photographer and not the camera!

Monsoon Thailand Copyright 1982 Daniel D. Teoli jr. mr

Bangkok Taxi Copyright 1982 Daniel D. Teoli Jr. mr

The 2 below were shot with a 6MP Pentax *istD …in JPEG. When I was making the move from film to digital I didn’t know anything about RAW. What is the credo camera fondlers…it is the photographer and not the camera!

Steeplechase Copyright 2005 Daniel D. Teoli Jr.

Uncertain Future copyright 2005 Daniel D. Teoli Jr. mr

The next photo was done with a $75 Kodak 6MP P&S from Wal-Mart. It is all I had with me and I made due.

Niagara Falls copyright 2009 Daniel D.Teoli Jr. mr

The next shot was done with a infrared Pentax K-01. Not the best choice by any means for this shot. Again, if it is all one has, you do the best you can.

IR July 3 2015 copyright Daniel D. Teoli Jr. mr

Although, if your shooting at night and want to be invisible, the infrared flash and camera make it possible.  This just underscores what I said at the beginning with the screwdriver analogy. The worst camera for one job may be the best camera for another job. The next 10 shots are from my artists’ book Piercing Darkness.

PD Project 2015 Daniel D. Teoli Jr. mr

PD Project Daniel D. Teoli Jr. G300 mr

PD 2015 Daniel D. Teoli Jr. mr - C BMG Project Infrared Flash 2015 Daniel D. Teoli Jr mr - Copy PD 2015 Daniel D. Teoli Jr. mr - C PD 2015 Daniel Teoli Jr. mr - C PD Infrared Flash 2015 Daniel D. Teoli Jr mr - C PD Daniel D. Teoli Jr mr- Co

Piercing Darkness 2015 Daniel D. Teoli Jr. mr - C v14

Piercing Darkness Infrared Flash 2015 Daniel D. Teoli Jr. mr - - C

When I shot the next 3 pix the circular fisheye was what was on the cam, so I made due.

14 L1002945-6_7_8_fused-4-2-3 mr

13Whoop-Whoop 73 Daniel D. Teoli Jr. mr

21 L1003145-V4 mr

Sure, some cameras offer special benefits. The Sony P&S I used for the above photos does not work well in low light AF situations. So no use beating a dead horse if light is bad. But, if all things are equal, you can shoot good photography with most any cam out their nowadays.

I read that in 2016 it is estimated that there will be 2 billion cell phone cams worldwide.  I don’t use a cell phone cam. I got nothing against them, they seem to be capable of producing decent quality work. It is just that I don’t own a smart phone – otherwise sure, I’d use it for taking pix.

Whether cell phone, Nikon, Pentax, Fuji, Canon, Leica, Olympus or Sony…they all can produce. You will always have fan boys for their respective camera. I’ve used many brands of cameras over the years and have produced museum quality work with them all. They are just tools that produce photographs for me…it is the photographer and not the camera.

Although, I don’t think a cell phone cam could have shot this…well as of yet anyway!

Crypt St. Michan's copyright 2015 Daniel D. Teoli Jr. mr

The next 10 photos were shot with a Nikon F.

78 img574 21 Final Print 0, +5, +5 MR 84 img075 V12-hair redone diffused hair MR 66 V8 Print View MR

64 mg125- V2 LTD lite vers MR

20 img036-V4 MR

Traveling Transvestite Copyright 1974 Daniel D. Teoli Jr. mr Getty Heir Found Copyright 1973 Daniel D. Teoli Jr. mr

64 Barbara LeMay Copyright 1974 Daniel D. Teoli Jr.

72 img206-Print V5 +5 - 5 0 MR

10 img030pp2 JP TF SPOT Vig Print V5 Final use this MR

The 12 photos below were shot with a Leica M3 and M4. I could have used a Nikon, Canon, Pentax or Minolta and got the same thing….it is the photographer and not the camera.

Von Kameras mit fondlers … verbringen weniger Zeit mit Erektionen durch Ihre Kameras fingern und und mehr Zeit, um die Taste drücken.

Jenny copyright 1972 Daniel D. Teoli Jr. mr Young Girl and Babydoll copyright 1972 Daniel D. Teoli Jr. Untitiled no.1 copyright 1971 Daniel D. Teoli Jr. Twenty-Six Roadkills artists' book no.8 Daniel D. Teoli Jr.  42 img070-3-View Print V4 MR 52 img038-view print V3 MR 62 img201V8 Print MR  'Saturday Matinee Lets Out' Copyright 1974 Daniel D. Teoli Jr 100 img175-V9 Print MR

Hakenkreuz in a Dress copyright 1973 Daniel D. Teoli Jr.

12 img033-2-2 SPOT MR

Makes Me Grateful for My Bed Copyright 1971 Daniel D. Teoli Jr. mr

The next photo was an early one of mine. I shot it with a Kodak Retina I bought when I was 13 in a pawn shop for $10. The neg was lost in a flood. This is a scan from a work print.

Caesar copyright 1968 Daniel D. Teoli Jr. mr

If you like square pictures shoot 6×6. Sure, pick the best tool for the job. The Hasselblad SWC was one of my favorites. If I didn’t need a superwide, any 6×6 or 6×7 would have produced…Rollei, Yashica, Kiev, Pentax, Bronica, Minolta, Kowa, Mamiya, Pentacon or Hassy….it is the photographer and not the camera!

Coat Hanger Copyright 1974 Daniel D. Teoli jr. mr

24 'Gypsy Woman' Copyright 1973 MR

Burt's Devotee copyright 1974 Daniel D. Teoli Jr. mr... 'Sunlit Slipper' Copyright 1973 Daniel D. Teoli Jr V16.  50 img028-view V19 Print Final MR

Crazy Copyright 1975 Daniel D. Teoli Jr. mr

Stripper on Rooftop copyright 1974 Daniel D. Teoli Jr.

I did some 4 x 5 work for a couple of years in the 1970’s. The 4 photos below were done with a Toyo View 4 x 5. Out of all the cams out there, the view camera is the worst choice for my type of photography.

4 img001-Tiff v2 Print MR

Sylvia Haskins copyright 1972 Daniel D. Teoli Jr. mr....

'Arnold' Copyright 1973 Daniel D. Teoli Jr mr Man at Park copyright 1972 Daniel D. Teoli Jr. mr

I eventually gave up on 4 x 5 as it was not conducive to my style of shooting. The day I stopped forcing things was a day of enlightenment for me. Some photogs may have had to take their delusion to 8 x 10 wet plates before they figured it out.  Others may have saved a lot of time and never had to feed their ego with large format. All sort of egos out there.

I’ve been lucky to be around large format guys for years, so I was able to study their personalities. Large format appeals to the egomaniac, the anal, the perfectionist, control freak and Ansel groupie.

I think Dan Winters shot this…

http://toddstewartphotography.net/teaching/wp-content/uploads/2013/01/Dan-Winters.jpg

Whoever shot it, what does it smack of…the anal studio photog.

Here is a pix of Gregory Heisler, a perfectionist and view cam devotee. One of his subjects said of him – when he shoots a subject you don’t use a clock to measure time, you use a calendar. (paraphrased)

https://nppa.org/sites/default/files/editors/GH_portrait_by_Maja_Jutanda.jpg

If you contrast the large format mindset to the street / documentary photographer mindset, you will find them on opposite extremes…even in their portraits.  Here is a photo of Cartier-Bresson.

http://graphics8.nytimes.com/images/2013/06/20/blogs/20130620-lens-bresson-slide-IVP4/20130620-lens-bresson-slide-IVP4-superJumbo.jpg

If you ever get a chance to see some of Ansel Adams ‘street photography’ you will see what I am talking about here…nothing special. Many LF devotees can only produce masterpieces if it is under their anal, methodical control. This just underscores the fact that because one is a master in one genre, it does not guarantee mastery in another area.

The reason I’m going into all this detail is this. Don’t waste your photographic career doing something that your not good at. Find out that your great at…and do it! Out of all the cams I discuss here, view cam photogs have to be on a different wavelength than the rest of us. It is important for the photog to have an acceptance, as well as a realistic understanding in their head, of what they are good at.

Winogrand used to hate being labeled a street photog. Well too GD bad, that was what he was. He was no great studio photog, nor was he even a great street photog.

https://danielteolijr.wordpress.com/2015/08/01/pd-project/

I’m proud to be labeled a social documentary / street photog. I don’t have any pretentious hang-ups like Winogrand to confuse me. Having a label reminds me what my specialty is. Now, I do shoot product shots every once in a while, but I don’t want to be thought of as a studio photog, as it is not what I’m good at.

De Wallen copyright 2014 Daniel D. Teoli Jr. mr

Here is an example of my ‘studio work’ from my De Wallen: Amsterdam’s Red Light District artists’ book.

How did I shoot it? On-the-fly, like any of my other street and documentary shots. I pulled a flashlight out of my pocket for light, hand held my Fuji X-E1…boom there it is! Being an ADD’er, that is the anal limits of my studio work.

How would the anal, studio photog shoot it?

http://www.americanphotomag.com/sites/americanphotomag.com/files/styles/medium_1x_/public/files/darkroom.jpg?itok=PysXUBqP

That is all they know. Just as all I know is on-the-fly work. Sometimes you will come across a master that can do it all…studio and fast shooting as well. Those are the ones you can be jealous of.

With street / documentary photography if you come back with 70% to 80% of what you were after, you can still have a winner. That fits my non-perfectionist personality fine. The anal studio / large format photog has to have it 99% perfect. Cartier-Bresson’s Rue Mouffetard Paris 1954 is a good example of the principle of imperfect perfection.

https://s-media-cache-ak0.pinimg.com/originals/73/c6/30/73c630cbb286e57b2a5f1dfc424bdac7.jpg

Can you imagine Heisler shooting Rue Mouffetard Paris 1954? He’d shit his pants if he had to sign his name to it. But to a street / documentary photog – it is iconic. While there are rules to composition in photography…rules were made to be broken.

https://danielteolijr.wordpress.com/2015/05/17/the-best-picture-rings-with-the-eye-as-the-right-chord-rings-with-the-ear/

Here is my homage to Cartier-Bresson and the ‘cutoff foot syndrome.’ I shot it with a 12MP Oly M43.

Princess of Ross County in the style of Rue Mouffetard Paris 1954

Princess of Ross County copyright 2012 Daniel D. Teoli Jr.

Large format devotees are akin to some of the pixel peepers we have nowadays. Both camps are always looking for the biggest and best. As soon as a 100 MP cam comes out they are asking for 200MP. If the large format guys are shooting 5 x 7 it has to go to 8 x 10. When 8 x 10 does not satisfy their ego, they are out shopping for a banquet cam. They are never satisfied with what they have, they are always looking forward and can’t produce anything worthwhile until they get their ego fueled ‘big enough’ dream cam.

Flatbed scanned 35mm color neg film is equal to about 4MP shot with a P&S cam. Isn’t that something that so many iconic photos were produced with such a low res media?

http://www.photographycompared.tumblr.com/

At the time I am writing this Adobe just came out with Lightroom 6. What are the camera fondlers discussing on the forums? What do you want in Lightroom 7. Lightroom 6 is just being shipped.  I am still using Lightroom 3, 4 and 5. There is a tremendous satisfaction if you can get settled with your gear and just concentrate on producing great photography. Now, if you can’t produce, then you must look elsewhere to occupy your mind…aka camera fondling.

Really, Lightroom 3 does all I need.

Sunlit Slipper Silver Print vs Inkjet Print Copyright 2013 Daniel D. Teoli Jr.

Some of the large format devotees seem to forget about all the missed photos their ego blocks them from capturing. They wont accept anything less than big, beautiful, sharp, boring photos of nothing. I suffered from that sickness when I was in my teens. I call it my ‘Edward Weston period.’ I put my pride in sharpness…and boring photos.

When I was a kid I had wanted to be a fashion / studio photog. It took many years to accept the fact that I didn’t have any talent in those areas. All my talent was in documentary photography. Once I accepted that I flourished and never looked back.

https://danielteolijr.wordpress.com/2015/06/19/biography-of-daniel-d-teoli-jr/

Below are samples from my artists’ book De Wallen: Amsterdam’s: Red Light District. They are all 100% candid shots. Photography is banned in the Red Light District.  If your caught taking photos you can run into physical harm or at least lose your cam or memory card. Of course, dealing with all these problems IS the specialty of the expert documentary photographer whose job it is to bring home the best possible images under adverse conditions.

22 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 25 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 27 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 28 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 30 De Wallen Artists' Book Copyright Daniel D. Teoli Jr. mr. 39 De Wallen Copyright 2014 Daniel D. Teoli Jr. mr

I used the Fuji X-E1 for the photos. If I shot the Fuji like a Fuji I would have got nothing. I shot the Fuji like a Leica…then it produced. This is where my 47 years of experience paid off. The Fuji was designed by a bunch of camera fondling engineers. Terrible design for hardcore street / doc work.

My full review is here:

https://danielteolijr.wordpress.com/2015/05/12/the-fuji-x-at-large/

Now, I’m not saying large format is bad for everyone. Some large format people produce fantastic work. But a lot of the large format work I see on the net is nothing special. I do like the work of Ansel, Linda Connors, Emmet Gowin, Irving Penn, Dan Winters, Sally Mann, Shelby Lee Adams, O. Winston Link, Gregory Heisler and others like lesser known Gandolfi and Ed Ross.

Looking back on my body of work, I did take a photo or two where I wish I would have been a little more anal when I shot it…

Sculpted Roof copyright 2012 Danuiel D. Teoli Jr. mr

https://danielteolijr.wordpress.com/2015/04/07/the-last-of-its-kind-the-sculpted-or-textured-roofs-of-los-angeles/

But in the big picture, walking down the street carrying all that crap, lenses, film holders, in a giant aluminum box with a heavy tripod, and getting under the dark cloth in skid row alleys was a terrible idea. I lost a lot of time and photos feeding my ego with large format.

Here is a masterpiece from O.Winston Link.

http://upload.wikimedia.org/wikipedia/en/a/a1/OW_Link,_Hotshot_Eastbound.jpg

Here is O. Winston Link…a good photo for illustrating the anal personality of the large format photog.

http://www.carolinaarts.com/owlink1-999.jpeg

But, the grand prize for ‘analness’, when it comes to freezing time, has to go to Ron Fricke. When he shot his movie Samsara, the small crew had to lug around 70 pieces of cargo…to 26 countries.

http://photohostsnapshots.tumblr.com/image/123547096728

If your still not sure if you fit into the anal large format crowd, get a copy of Shelby Lee Adams DVD The True Meaning of Pictures. Do you identify with his anal nature? Would you go back and keep re-shooting a shot for years until you feel you have perfected it? If so, by all means go large format…your anal!

But before you make the move to large format, see some footage of Cartier-Bresson in action. Now you have been exposed to the alpha and the omega and you can better see what may be your direction.

View camera or not…I don’t want to be like this guy even with 35mm…

http://photohostsnapshots.tumblr.com/image/113425509218

THIS…is how I roll…

http://photohostsnapshots.tumblr.com/image/119353544033

For me perfection happens in a fraction of second and is only marginally perfect. By the time the large format photog takes off his lens cap and farts, I’ve created an iconic photo. That is the essence of street and documentary photography.

This shot was gone in two blinks of the eye!

Deer Still Life Copyright 2014 Daniel D. Teoli Jr. mr

Deer Still Life copyright 2014 Daniel D. Teoli Jr. – taken with Fuji X-E1

Photogs are a pretentious bunch…aren’t we. Everyone has strong opinions one way or another. Photogs have to have a certain amount of ego, esp street photogs. You have to be a little ‘off your rocker’ anyway to be a good street photog. Even landscapers have to be decisive and not wishy-washy. We are all cut from the same cloth…we have to decide when to push the button. We are all sisters and brothers of one family…we freeze time.

Ego is a problem when it hurts your ability to freeze time in the best way possible. I don’t care what cam is used, color / BW, film or digital. Whatever does justice to a subject best. Just don’t let ego ruin a photo.

Ernst Hass on the subject…

“There are black and white snobs, as well as colour snobs. Because of their inability to use both well, they act on the defensive and create camps. We should never judge a photographer by what film he uses- only by how he uses it.”

Personally I have always loved Leica, Nikon F and Hasselblad film cams as my first choice. But as time marches on you have to keep up with it or be left in the dust. Here is something from the Leica Monochrom. I used up my full anal limits of waiting 5 minutes for someone to walk by.  (The more anal street ‘shadow specialist’ will wait 30 or 40 minutes for a person to walk into or out of a shadow.)

Titty Beads copyright 2014 Dnaiel D. Teoli Jr.

Anyway, enuf talk. If I do any more writing I may catch a case of Sontagitis! You can read this if you want to hear more about photographers and their ‘opinions.’

https://danielteolijr.wordpress.com/2015/05/10/opinions-are-like-assholes-everyones-got-one/

In summation…

Cameras are tools for freezing time. Some tools are better than others for the job. No one will argue against that. But, unless you have some specialized project that requires a zillion MP so you can make wall size photos of your smoky water with the obligatory dock and sunset or burning steel wool photo – one cam is as good as the next if they both have the ability to do the job.

Camera fondlers, fan boys and anal pixel peepers…all things being equal…it is the photographer and not the camera!

Camera Fondler copyright 2015 Daniel D. Teoli Jr. mr

Stop looking for excuses outside of yourself as to why you produce nothing worthwhile…look within.

Further reading:

https://danielteolijr.wordpress.com/2015/04/28/the-red-dot-is-not-your-problem-you-are-the-problem/

https://danielteolijr.wordpress.com/2015/07/27/self-defense-for-the-street-photographer/

W L1000340 v9 MR

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Diane Di Prima…or not?

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Diane Di Prima did a lot of nude modeling in her heyday. At least that was what she reported in her book Memoirs of a Beatnik. While acquiring photos for my artist’s book series Girls of the Beat Generation, I had looked through many hundred thousand photos from that era and have never found a photo of Di Prima except possibly on one rare occasion.

There is no telling if it is Di Prima or not, but I lean in the direction of it being Di Prima. You can decide for yourself. Sadly, not much out there with enough detail of Di Prima in the era for comparison.

Girls of the Beat Generation Daniel D. Teoli Jr. Archival Collection (2)

A possible Diane Di Prima discovery from Girls of the Beat Generation artist’s book series. From the Daniel D. Teoli Jr. Archival Collection.

Other photos of Diane for your comparison…you decide for yourself.

img_diprima_02 jones-di-prima_ea4f0f19f6

Diane Di Prima topless - post processing Daniel D. Teoli jr.

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Girls of the Beat Generation Daniel D. Teoli Jr. Archival Collection

From Girls of the Beat Generation

A forthcoming 6 volume artists’ book series by social documentary photographer Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/04/21/girls-of-the-beat-generation-artists-book/

A complete list of artists’ books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

 

Temple of Dreams…The Historical Democratic and Republican National Conventions

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1 1940 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (43)m

Preview of

Temple of Dreams: The Historical Democratic and Republican National Conventions

 A limited edition artists’ book by Daniel D. Teoli Jr.

Photographs from the Daniel D. Teoli Jr. Archival Collection and other sources.

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1860 RNC -Chicago_Wigwam

1860 RNC (a)

1880 DNC Cincinnati-Music-Hall

1880 DNC (a)

1880 RNC

1880 RNC (a)

1896 DNC William Jennings Bryan

1896 DNC – William Jennings Bryan giving his Cross of Gold speech. (a)

1896 DNC Bryan_after_speech

1896 DNC – William Jennings Bryan being paraded after his Cross of Gold speech. (a)

1896 RNC political-memorabilia-6-2013908m

1896 RNC (a)

1900 DNC Kc-convention-hall

1900 DNC (a)

1900 RNC Philadelphia Temple of Dreams Daniel D. Teoli Jr (9) m

1900 RNC – “12th Republican National Convention, probably the first to receive full photographic coverage, opened in Philadelphia. William McKinley, then President, was practically assured of the nomination and Teddy Roosevelt was chosen as his running mate.”

1908 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (17) m

1908 RNC

1912 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (139) m

1912 RNC delegates arriving via stagecoach.

1912 RNC PA Delegates Parading Temple of Dreams Daniel D. Teoli Jr. Archival collection (34)m

1912 RNC – Pennsylvania delegates parading.

1924 RNC Temple of Dreams Daniel D. Teoli Jr. Archival collection (27) m

1924 RNC – John Coolidge listening to the nomination of Calvin Coolidge at the RNC – real photo post card.

1924 DNC Madison Square Garden pre-convention

1924 DNC

1924 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (126) m

1924 DNC – Official caterers for the convention, Mr. & Mrs. David Lantinberg getting plates ready.

1924 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (134) m

1924 RNC

1924 Independent Sen. Robert M. Lafollette Temple of Dreams Daniel D. Teoli Jr. Archival collection (24)m

1924 Independent Sen. Robert M. Lafollette

1928 DNC Claude G. Bowers Temple of Dreams Daniel D. Teoli Jr Archival Collection (17)m

1928 RNC – Claude G Bowers addressing the convention vigorously attacking the G.O.P.’s record.

1928 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (22)m

1928 DNC

1928 DNC Temple of Dreams - Daniel D. Teoli Jr. Archival Collection (1)m

1928 DNC

1928 post-RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (49)m

1928 post-RNC

1928 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (69)m

1928 RNC – Dirt farmers demonstrate against Hoover while a band plays a funeral dirge.

1932 DNC Huey P. Long Temple of Dreams - Daniel D. Teoli Jr Archival Collection (59)m

1932 DNC – Sen. Huey P. Long addressing the convention.

1932 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (20)m

1932 DNC – William Gibbs McAdoo, Jr. (center) greeted by Ramon Barker, (right?) one of the leaders from the Texas delegation.

1932 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (94)m

1932 DNC

1932 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (130)m

1932 DNC – The band played ‘The Sidewalks of New York’ as thousands were singing the theme song of Al Smith. Prohibition was repealed in 1933 with the 21st Amendment.

1932 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (132)m

1932 DNC – Two men do an impromptu Irish jig after Roosevelt’s nomination.

1932 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (137)m

1932 DNC – Title on verso “Girl delegate gets high ride in Roosevelt parade.”

1932 DNC Temple of Dreams Daniel D. Teoli Jr (2)m

1932 DNC – “Carrying their banners down the aisles, Roosevelt forces parade through the convention hall. The demonstration lasted about half an hour—a short ovation for DNC demonstrators which sometimes last five or six hours.”

1932 post-DNC Roosevelt greets Melody Bresina Temple of Dreams Daniel D. Teoli Jr (3)mk

1932 post-DNC

1932 RNC (1)

1932 DNC tickets (a)

1932 RNC Nedra Wilhelm Daniel D. Teoli Jr. Archival Collection (6)

1932 RNC – Nedra Wilhelm of West Virginia, the youngest delegate at the convention.

1936 DNC Gov. Bibbs Graves Temple of Dreams Daniel D. Teoli Jr (7)m

1936 DNC – Gov. Bibb Graves, the first delegate who will cast a vote at the DNC, says it will be “24 votes for F.D.R.”

1936 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (156)m

1936 DNC

1936 Temple of Dreams Daniel D. Teoli Jr. Archival Collection (18)

1936 RNC – Convention attendees arriving at the Hotel Cleveland in Ohio.

1936 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (40)m

1936 RNC

1936 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (44)m

1936 RNC

1936 Temple of Dreams Daniel D. Teoli Jr. Archival Collection m

1936 – Press photographers grabbing a bite.

1936 RNC Daniel D. Teoli Jr. Archival Collection (1)

1936 RNC – New York delegates.

1936 RNC Mrs. E. A. Barnes Daniel D. Teoli Jr. Archival Collection (3)

1936 RNC – Mrs. E.A. Barnes of Albany, Kentucky, the youngest delegate at the convention.

1940 DNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1940 DNC – Speaker of the House William B. Bankhead delivering his keynote address.

1940 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (25)m

1940 DNC

1940 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (27)m

1940 DNC – One Eye Connelly, a perennial gate crasher, practicing crashing a whoop-te-doo staged by the Texas DNC delegation.

1940 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (29) m

An example of the same photograph with no post processing. Generally speaking, only traditional darkroom controls were used in the digital post processing such as dodging, burning, contrast, sharpness, toning, and spotting. Minimal cropping and cloning to remove major defects were only used in a few of the images where needed.

1940 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (31)m

1940 DNC

1940 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (44)m

1940 RNC

1940 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (52)m

1940 RNC – Sen. George Wharton Pepper leading cheering section of his state’s delegation.

1940 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (67)m

1940 RNC – Mary L. Muir from Wyoming.

1940 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (76 (1)

1940 RNC – Jane Hollister of Harrisburg, Pennsylvania wearing a miner’s hat.

1944 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (11)m

1944 DNC – The ‘Donkey Stampede’ after Roosevelt’s nomination.

1944 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (129)m

1944 DNC – Miss Mary Jane Freeman, secretary to the Iowa delegation, installs a banner.

1944 Bette Capello TX Headquarters DNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection (4)m

1944 DNC – Bette Capello visiting Texas headquarters of the DNC.

1944 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (156)m

1944 DNC – Delegates demonstrate as chant “We want Wallace” as they ring cow bells and carry painted umbrellas.

1944 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (77)m

1944 RNC – Tickets for the Pennsylvania Delegation are carried by Mrs. Marion Margery Scranton of Scranton, Pennsylvania and Hon. G. Mason Owlett, Wellsboro, Pennsylvania.

1944 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (66) PUTm

1944 RNC – The heat drove men to shirt sleeves.

1944 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (158)m

1944 RNC – Gov. Leverett Saltonstall (center)

1944 RNC John Peavey Daniel D. Teoli Jr. Archival Collection (5)

1944 RNC – John Peavey 10, son of Mrs. Mary Peavey who was the alternate delegate of Twin Falls, Idaho. Title of photo on verso read – “Dream of glory” come true.

1948 Easter Temple of Dreams - Daniel D. Teoli Jr Archival Collection (124)m

1948 – Easter, Washington, D.C.

1948 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (114)m

1948 DNC

1948 DNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection (60) m

1948 DNC – Title on verso One “How” for Harry. A Cherokee Indian belonging to the Party of White Fathers Jefferson, Jackson and Roosevelt appears beside white Liberty Bell.

1948 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (97)m

1948 RNC – Walter S. Hallanan had to rap his gavel 28 times before the crowd settled down.

1948 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (141)m

1948 RNC – ‘Little Eva’ and her attorney and delegate Chauncey Price of Morgantown, West Virginia.

1948 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (152)m

1948 RNC – Pages Joan Weis and Lyn Wells of Rochester, New York.

1952 Adlai Stevenson DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (162)m

1952 DNC – Gov. Adlai Stevenson address at opening session.

1952 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (30)m

1952 DNC – Geraldine Foster retouches Truman portrait before opening of the DNC.

1952 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (80)m

1952 DNC – Photo entitled “Height of the Hubbub”

1952 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (160)m

1952 DNC – Signs advertise Sen. Robert S. Kerr as World’s Greatest Elephant Hunter.

1952 post-RNC Daniel D. Teoli Jr. Archival Collection (3)m

1952 General and Mrs. Dwight Eisenhower and Sen. and Mrs. Richard Nixon at pre-election celebration. It was a common practice with newspapers to draw in details as this photo illustrates with their faces.

1952 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (32)m

1952 RNC

1952 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (92)m

1952 RNC

1952 RNC Temple of Dreams Daniel D. Teoli Jr (1)m

1952 RNC – Former President Herbert Hoover waits to speak.

1952 RNC Sen. Nixon's speech Daniel D. Teoli jr. Archival Collection m

1952 RNC – During Sen. Nixon’s speech.

Photo by Glenn Zahn

1956 John L. Lewis Temple of Dreams - Daniel D. Teoli Jr Archival Collection (101)m

1952 – John L. Lewis, President of the Untied Mine Workers and major political player.

1955 pre-RNC National Young Republicans Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1955 pre-RNC – Nixon meets with Pennsylvania Delegates

1955 Temple of Dreams Dry Cleaning the biggest American flag in the World - Daniel D. Teoli Jr. Archival Collection

1955 – Dry cleaning the worlds largest flag.

1956 DNC A.B. Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1956 DNC – During demonstration for A. B “Happy” Chandler, members of the Kentucky delegation lift Nancy Waterfield of Frankfurt, Kentucky into the air.

1956 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (82)m

1956 DNC

1956 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (105)m

1956 DNC

1956 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (144)m

1956 DNC – Mrs. Grace Sloan of Clarion, Pennsylvania waits for opening session.

1956 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (151)m

1956 DNC – Former Republican, Independent Sen. Wayne Morse of Oregon address the DNC.

Daniel D. Teoli Jr. Archival Collection (5) mr

1955 pre-RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (40)m

1956 RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (45)m

1956 RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (74)m

1956 RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (93)m

1956 RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (109)m

1956 RNC

1956 RNC Daniel D. Teoli Jr. Archival Collection (2)

1956 RNC – 200 flags in attendance.

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (149)m

1956 RNC

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (159)m

1956 RNC – Young Republican ‘pom-pom’ girls perform to march music

1956 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (163)m

1956 RNC

1956 RNC Temple of Dreams Daniel D. Teoli Jr (5)m

1956 RNC

1956 RNC Temple of Dreams Daniel D. Teoli Jr (10)m

1956 – Pat and Julie Nixon watch their father on TV make his acceptance speech for Vice Presidential nomination at the RNC.

1956 RNC Temple of Dreams Daniel D. Teoli Jr (14)m

1956 RNC

1956 post-RNC relaxation Daniel D. Teoli Jr. Archival Collection (1)m

1956 post-RNC relaxation.

1960 Nikita Khrushchev Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1960 Nikita Khrushchev – Soviet leader who had bragged about Soviet missile superiority, claiming that the United States did not have intercontinental ballistic rockets; “If she had,” the Russian leader sneered, “she would have launched her own sputnik.” He then issued a challenge: “Let’s have a peaceful rocket contest just like a rifle-shooting match, and they’ll see for themselves.”

http://www.history.com/this-day-in-history/nikita-khrushchev-challenges-united-states-to-a-missile-shooting-match

1960 pre-DNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1960 pre-DNC

1960 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (14)m

1960 DNC

1960 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (125)m

1960 DNC

1960 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (150)m

1960 DNC

1960 pre-DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (115)m

1960 pre-DNC

1960 Temple of Dreams Daniel D. Teoli Jr (7)m

1960 pre-election rally

1960 RNC Daniel D. Teoli Jr. Archival Collection (4)

1960 pre-RNC

1960 RNC Mary Evans Temple of Dreams Daniel D. Teoli Jr (4)m

1960 RNC – Mary Evans of Milwaukee, Wisconsin

1960 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (61)m

1960 RNC

1960 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (74)m

1960 RNC

1960 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (125)m

1960 RNC – Nixon upon hearing he received the Presidential nomination.

Photo by Frank Cancellare

1963 clinton meets JFK Temple of Dreams Daniel D. Teoli Jr (13)m

1963 – Bill Clinton meets JFK

1964 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (16)m

1964 DNC

1964 RNC San Francisco KKK..

1964 RNC (a)

1964 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (141)m

1964 RNC

1968 DNC 2829d JPG

1968 DNC (a)

1968 DNC

1968 DNC (a)

1968 DNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (100)m

1968 DNC

1968 pre-RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (3)m

1968 pre-RNC

1968 pre-RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (107)m

1968 pre-RNC

1968 pre-RNC tour Temple of Dreams - Daniel D. Teoli Jr Archival Collection (112)m

1968 pre-RNC tour

1968 RNC Temple of Dreams Daniel D. Teoli Jr. Archival Collection

1968 RNC

1968 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (33)m

1968 RNC

1968 post RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (122)m

1968 post-RNC

1971 Nixon Temple of Dreams - Daniel D. Teoli Jr Archival Collection (119)m

1968 – Nixon waiting to make entrance for speech.

1971 Temple of Dreams Daniel D. Teoli Jr (8)m

1968

1971 (e) Temple of Dreams Daniel D. Teoli Jr (11)m

1971

 

1972 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (47)m

1972 RNC commemorative plate.

1972 RNC Temple of Dreams - Daniel D. Teoli Jr Archival Collection (49)m

1972 RNC

1976 RNC - David Hume Kennerly - Getty Images-2396354_0 m

1976 RNC (a)

Photo by David Hume Kennerly

1976 RNC OBIT_REAGAN_10_1373588_tx728_

1976 RNC (a)

1984 DNC Temple of Dreams - Laserphoto - Daniel D. Teoli Jr Archival Collection (4)m

1984 DNC – restored laserphoto

1984 RNC

1984 RNC (a)

1988 RNC Times-Picayune

1988 RNC (a)

1988 RNC Times-Picayune file image (2)

1988 RNC (a)

Daniel D. Teoli Jr. Archival Collection (1.1) mr

1992

Photo by James A. Parcel

Daniel D. Teoli Jr. Archival Collection (6) mr

1992 DNC – Hillary Clinton and Anne Richards, Gov. of Texas.

1972 Clinton post-DNC Temple of Dreams Daniel D. Teoli Jr (12)m

1992 post-DNC

1992 RNC

1992 RNC (a)

1996 DNC 2

1996 DNC (a)

1996 DNC

1996 DNC (a)

1996 DNC 1

1996 DNC (a)

1996 RNC

1996 RNC (a)

2000 DNC

2000 DNC (a)

2000 RNC

2000 RNC (a)

2004 DNC

2004 DNC (a)

2008 RNC

2008 DNC (a)

2008 DNC (3) m

2008 DNC (a)

2008 DNC (4) m

2008 DNC (a)

2012 DNC

2012 DNC (a)

2012 DNC 5

2012 DNC (a)

Note:

The Daniel D. Teoli Jr. Archival Collection is composed mainly of historical photographs from the 1880’s to the 1980’s. To round out this presentation I’ve included some photographs outside of the collection under Fair Use. These photographs are distinguished with an (a) after the description.

(a) – Not in the Daniel D. Teoli Jr. Archival Collection.

These Fair Use photographs do not appear in Temple of Dreams: The Historical Democratic and Republican National Conventions

No special effort was used in favoring one political party over the other in the collection. It was strictly by chance how it turned out.

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Women of the Beat Generation - Daniel D. Teoli Jr. Archival Collection

From Girls of the Beat Generation

A forthcoming 6 volume artists’ book series by social documentary photographer Daniel D. Teoli Jr.

Women of the Beat Generation - Daniel D. Teoli Jr. Archival Collection (1)

https://danielteolijr.wordpress.com/2016/04/21/girls-of-the-beat-generation-artists-book/

A complete list of artists’ books by Daniel D. Teoli Jr.

https://danielteolijr.wordpress.com/2016/03/07/artists-books-by-daniel-d-teoli-jr-2/

 

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