A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Sprawled on Black Satin
Saturday, October 28, 2017




In youth ideas come charging into the mind (out of, perhaps?) like locomotives in that other railroad century. This particularly happened for me in the waning decade of the 20th century.

In 1986 Rosemary, our two daughters and I moved to a big house (corner garden) in Kerrisdale. It had lots of shade. I discovered by book research (pre Google) that hostas were shade tolerant (no plant is shade loving) perennials. In 1992 I decided to combine the variety of hostas (over 4000 cultivars) with my love of the undraped female form.

It just so happened that a show had fallen through at the then happening photo gallery, The Exposure Gallery, on Beatty Street. Brian Lynch, the curator, called me up and asked me if I could put up a show within the week.


Hosta 'Yellow River' October 28, 2017

And so as explained here, and here,  I combined the magnificent Lisa Montonen with my hosta leaves and used one softbox in my studio on Robson and Granville.

Today I scanned some hosta leaves to show that it’s not only falling leaves from trees in the fall that have interesting colours. These leaves, 2017 and my hosta photographs with Lisa Montonen shockingly tell me that a quarter of a century has passed.

Because in 1992 I was obsessed with the undraped female form the majority of the photographs show bits and parts that I cannot place here but served me well at the Exposure Gallery.

This one of Montonen sprawled on a sofa (I borrowed it from artist Rodney Graham whose studio was across mine) worked out nicely. I did something which is usually verboten. To place a black cloth (in this case black satin) under Montonen to hide the sofa (I believe it was orange) usually works in the opposite direction as a reflector. Had she not had a perfect body the cloth would have added nasty shadows.

To light her with the softbox I suspended it from a boom so that my camera would not “see” the light stand.


October 28 2017




That Feminist Subtext
Friday, October 27, 2017







Alex, always admired the feminist subtext to your female portraits, & I'm not being sarcastic.
John MacLachlan Gray

Sometimes in my doldrums of depression and attempting to not be convinced that I am obsolete-redundant & retired I am saved as I was this week by a comment from my friend, novelist/essayist/musician/composer/etc John MacLachlan Gray.

Not too many people ever look at my female portraits beyond that of free titillation. But it seems most likely that MacLachlan Gray indeed has noticed what I so often inject into my portraits. I have a few rules:

1. I never ask anybody to do something that I would not do (and yes if there are any photographers who would like to photograph me undraped I am game).

2. For me models are subjects. The word model objectifies. As subjects I am forced to see them as human beings facing my camera. I understand that his can be stressful in the confines of a big studio or in my smaller and most intimate Kitsilano studio.

3. My role model is and always has been (since I discovered him so many years ago) Helmut Newton. He always injected grace, elegance and respect into his photographs even if in some cases he had a model riding another on a saddle in a living room.

4. Some photographers that I have known have used subterfuge to make their subjects shed clothing. They thought loud heavy metal, wine and pot would do the job. I prefer to be up front and I ask at the very beginning.

5. In this atmosphere of October 2017 so much of what photographers used to do and still do could be defined as sexual harassment. Some might argue that a woman or a man not wearing much might be unable to object to further escalation.

6. When I was taking photographs of women in tubs for a show some years ago I had my older daughter demand to be part of the series. My Rosemary was shocked. I thought at length as to what to and finally I had another of my subjects who was the same age as my daughter to help and pose (independently) with her.




7. Taking photographs of some ecdysiasts to be dressed as London Bobbies for a large format photograph to be converted into a mural for a local club I set aside an area with blankets and sheets for privacy so my subjects could change. I remember my assistant telling me that this was silly as these women were used to taking of their clothes in front of men. I tried vainly to explain.

8. I had one subject who wanted to be photographed in a series involving hand cuffs and being tied down. As I was taking these photographs I told her that I felt sorry for her. She responded with a laugh and said,”That is not precisely what I want to hear from you.”  I took that photograph immediately and for me my sequence of five photographs make sense with that last image with the laugh.

9. All photographic sessions have to be seen as a collaboration. This means that you have to listen for suggestions and objections.

10. Because I mostly relie on eye contact in my photographs, by that very nature most of my photographs are as MacLachlan calls them, portraits.

I thank Mr. MacLachlan Gray for noticing.




A Glock In the White House
Thursday, October 26, 2017





What happens when an a NY City ex-Police Commissioner becomes President of the United States and walks into the White House with a Glock?




A Mona Lisa Called Cheri
Wednesday, October 25, 2017




Why do eyes follow you in paintings and photographs?

I have asked myself this question many times but thanks to Google I finally have the answer below.

My first practical experience in this not-so-rare phenomenon started by my going in the late 70s to what was then in Vancouver called a show lounge. This was a euphemism for a strip joint. And the dancers in stripper joints were called exotic dancers. The first dancer I saw at the Drake that first time was called Emma Peel. She was just about 5ft tall in later years when I got to know her I found out everybody called her English Anna.

But it was another dancer, Cheri that immediately caught my eye. She had bangs and the longest legs I had ever seen in a creature besides the-to-me familiar Argentine ostrich. In fact some years later she managed to break her nose with one of her legs and aided by her extreme flexibility.

I was able to photograph her not soon after in my crude Burnaby basement studio. And that is when I took the picture you see here in which her eyes follow you.


Why do eyes follow you? I found it here.

The answer is simple: photograph, or paint, the face looking straight out. If it’s a photograph they must look straight at the lens of the camera. In the words of James Todd of Ohio State University, one of authors of the study, ‘If a person in a painting is looking straight out, it will always appear that way, regardless of the angle at which it is viewed’

How does it work? First of all, this is only possible because pictures and paintings aren’t 3D. They are semblances of 3D on a flat surface. This stops our brains calculating depth by comparing the images in the two eyes (how our brain calculates depth in images is covered in the book). Instead, our brains rely on other cues to depth, such as shading (the use of shadows to imply depth) and movement (all this is also covered in the book).

The explanation lies in how we interpret three-dimensional objects portrayed on a flat surface. Real three-dimensional objects look different depending on the angle because of the changing way light falls across them. But on the flat canvas, shading and light are fixed and the image looks the same from every angle. If the face is looking straight out from one angle, it will appear to be looking straight out at whatever angle it is viewed at.

In fact the only clue that the object in a picture isn’t really looking straight out is that the near side of an object should get smaller if you look at it from one side. This doesn’t happen in a natural way with a painting. Theoretically your visual system could use this information to figure out that pictures of objects aren’t real and thus the eyes aren’t really following you around the room, but it appears that they don’t. The contradictory information is either overridden or disregarded.


 There is another reason why I am placing these two photographs here. The first I shot with my Mamiya RB (6x7 cm format) with colour negative film. The second is a 35mm Kodak Ektachrome 64 slide that I purposely overexposed to get a milky skin. In 1978 photographers did not have computers or Photoshop.

And thanks to my 13 year-old Photoshop and its patch tool I have minimized the two bits of her chest. Cheri had the loveliest chest around and a smile that could conquer deep depression in anybody. Best of all Cheri danced to the music of one of my favourite Vancouver pop bands of the time Maurice and the Cliches.

I am now 75 and I have photographic information in my brain that I believe I will die with. That seems to be a shame. In the 80s and 90s I was constantly phoned by young photographers with questions on how I had done this or that.

These days I get calls from 800 numbers and I am being offered burial plots at a bargain!

These Cheris and many others of those late 70s and 80s were the only way that at the time I could experiment with figure photography. These exotics were extremely patient and with them I honed my lighting techniques, tried out different films and cameras, and learned stuff that I can now apply without thought as it is wired into my brain.




of a place bounded like a dream
Tuesday, October 24, 2017






Both my mother and my grandmother were snobs. I was raised to be one and I will not deny it.
Often my mother would say, “Hay poca gente fina como nosotros.” This translates to something like, “There are few people who are elegant and well-mannered as we are.

Because my grandmother worked for the Filipino Legation in Buenos Aires and then at the Embassy in Mexico City, both my mother and my grandmother, went to many parties. Some involved events in which Diego Rivera, Alma Reed and well known Mexican actors were attendees.

This meant that I would watch them choose dresses and the proper jewellery to wear. A little dab of Chanel Number 5 and off they were. Even I, about 13 years old, knew elegance when I saw it.
Lisa Montonen, who rarely uttered words was elegance at a Platonic Essence.

I have chosen Jorge Luís Borges's poem A un gato (To a cat) because his words describe something about cats that I marvel at always. Just seeing Casi-Casi, Rosemary’s cat, sprawled on our bed, his paws in elegance that only a ballet dancer could mimic for me is like Lisa Montonen, a definition of elegance and grace.

No son más silenciosos los espejos
ni más furtiva el alba aventurera;
eres, bajo la luna, esa pantera
que nos es dado divisar de lejos.
Por obra indescifrable de un decreto
divino, te buscamos vanamente;
más remoto que el Ganges y el poniente,
tuya es la soledad, tuyo el secreto.
Tu lomo condesciende a la morosa
caricia de mi mano. Has admitido,
desde esa eternidad que ya es olvido,
el amor de la mano recelosa.
En otro tiempo estás. Eres el dueño
de un ámbito cerrado como un sueño.

    Mirrors are not more silent
    nor the creeping dawn more secretive;
    in the moonlight, you are that panther
    we catch sight of from afar.
    By the inexplicable workings of a divine law,
    we look for you in vain;
    More remote, even, than the Ganges or the setting sun,
    yours is the solitude, yours the secret.
    Your haunch allows the lingering
    caress of my hand. You have accepted,
    since that long forgotten past,
    the love of the distrustful hand.
    You belong to another time. You are lord
    of a place bounded like a dream.






     

Previous Posts
Art Bergmann - Folk Punk (& Warmth) at the Vancouv...

A Slash of Blue on a Hot Day

Fútbol & Figuritas

Marina Hasselberg - That Foolproof Muse

Love & Those Fishnets

A Portrait of a Lady

That Tina Modotti Mug at MOMA - Not

I Am Going To Sleep

Ventanas a lo Insólito - Windows to the Strange

Lucrecia Emilia Ludovica Bermúdez De Castro Guerre...



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8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

10/6/13 - 10/13/13

10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

4/6/14 - 4/13/14

4/13/14 - 4/20/14

4/20/14 - 4/27/14

4/27/14 - 5/4/14

5/4/14 - 5/11/14

5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17

12/17/17 - 12/24/17

12/24/17 - 12/31/17

12/31/17 - 1/7/18

1/7/18 - 1/14/18

1/14/18 - 1/21/18

1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

2/18/18 - 2/25/18

2/25/18 - 3/4/18

3/4/18 - 3/11/18

3/11/18 - 3/18/18

3/18/18 - 3/25/18

3/25/18 - 4/1/18

4/1/18 - 4/8/18

4/8/18 - 4/15/18

4/15/18 - 4/22/18

4/22/18 - 4/29/18

4/29/18 - 5/6/18

5/6/18 - 5/13/18

5/13/18 - 5/20/18

5/20/18 - 5/27/18

5/27/18 - 6/3/18

6/3/18 - 6/10/18

6/10/18 - 6/17/18

6/17/18 - 6/24/18

6/24/18 - 7/1/18

7/1/18 - 7/8/18

7/8/18 - 7/15/18

7/15/18 - 7/22/18