Hans Mauli interview

This is one of those shots that makes its way around Tumblr without attribution. I’ve seen it a few times with a hundred reblogs here, a few hundred likes there. It’s a classic mid-century Europe photograph, but color is the element that makes it a bit different.

Hans Mauli has been photographing on the street for 50 years, in Europe and the US. He currently lives in San Francisco. Be sure to follow his Facebook page, he updates it regularly with a mix of photos from his archive and more recent work.

How was the photograph made?

It was taken with my first Hasselblad in 1962 (150mm lens), [Kodak] Ektachrome 200 or 400, daylight, no special lighting considerations.

Where was the photograph taken, what were you doing there, what do you remember about shooting it?

It was taken in Paris around 1962, near the Pont St Michel, near the Sorbonne, an area with a lot of students. Just walking around taking pictures, which I do to this day. This photo is called “Travaux Pratiques” (tutorials, lessons, exercises) because that’s the oddly appropriate title of the booklet on the ledge. These are probably students, doing their homework.

Why were you shooting street with relatively slow color film, when black and white was the standard?

I almost always shot in black and white, this was an exception. The only challenge getting this shot was leaning over a ledge shooting down with my arms extended as far as I could reach.

Oscar Grant’s photograph of Johannes Mehserle

Oscar Grant’s photograph of transit police officer Johannes Mehserle is rare: a portrait of the photographer’s killer. Unlike the recent photograph that a politician captured in the Philippines, Grant’s photograph, taken moments before Mehserle shot him in the back, was intentional.

Much of the media attention given to the Oscar Grant case focused on a handful of videos made by other passengers on the BART train, some of which show Grant being shot. While being detained by BART police, Grant called his ex-girlfriend Sophina Mesa twice from the platform. During this time he also took the photo of Mehserle and sent it to Mesa. Grant’s photograph of Mehserle did not get as much coverage as the videos, as it wasn’t released until the trial began.

Grant’s photograph raises an important issue that faces every American: the right to photograph, videotape and document while being detained or arrested by the police. Many of us assume we have this right, but with existing wiretapping laws, you can still be arrested and your camera confiscated. Radley Balko’s Reason.com article “The War on Cameras” is essential reading on this subject.

Demian Bulwa is a reporter and editor for the San Francisco Chronicle, who has covered the Oscar Grant case since the shooting, through the entire Mehserle trial. I asked him a few questions over the phone about this photograph.

How did the prosecution and defense use this photograph as evidence in the trial?

Both sides used flat screen TVs, multimedia, everything was timed and choreographed. It seemed they felt they might lose credibility if they weren’t sharp with multimedia. At times the arguments felt like PowerPoint presentations. There were photos, quotes, videos, video of the Taser training.

It was used by prosecution to show two things: 1. that he [Mehserle] knew his Taser from his gun, that he had actually taken out his Taser twice, that he knew full well between the two weapons. 2. That Oscar was being abused and was concerned about it.

It was one of many pieces of evidence. It’s part of the puzzle, and hard to tell which ones stuck with the jury.

What facts were presented about the photograph, when it was taken? Did he take it while face down, turning around?

Grant was sitting on the ground. The guys were sitting on the edge of the platform for a while. He wouldn’t have had the opportunity in the last moments, the officers were on top of him, with his arms behind him.

Was there any suggestion by either side that taking this photograph provoked Mehserle, or was some form of resisting arrest?

I don’t recall.

Based on the evidence in the trial, and your own speculation, why do you think Oscar Grant took this photograph?

Most likely he was documenting unfair treatment. He said something to his girlfriend [during the phone call], like “I’m getting beat up here.” It was a way of documenting that, and putting Mehserle on notice. If you take a picture of someone you are saying: I’m watching your behavior. You’re accountable. You are expressing your concern and putting them on notice.

Peter Eavis on Kodachrome

One of the last photographers shooting Kodachrome in Manhattan, Peter Eavis’ work is part of a long history of color photography on the island’s streets. His best frames are crafted with late afternoon and early morning light, especially in winter. 

Eavis has documented the transformation of Manhattan over the past decade, from the Wall Street meltdown to the rebuilding at the World Trade Center. The photographs show these larger events reflected in the faces of people working in the area. Eavis also used Kodachrome for perhaps its greatest purpose: making family photos.

Watching your photography over the last few years, it’s clear you not only study the great street photographers, but you studied this particular film stock. It’s best known as the colors of Americana in the post-war years, what did Kodachrome offer to street photographers?

It sees light like the human eye. It’s quite possible that, when exposed properly, Kodachrome can competently and attractively render bright light and shadows in the same frame. Black and white films manage that, but color ones rarely do. Also, Kodachrome’s color palate was 95% authentic. And the extra 5% added an inauthentic luster, but in a way that nearly always helped the photo.

What aspects of color or light unique to Kodachrome were you looking to capture in your work?

In real life, color and light combine to reveal the soul of a scene or a person, at a particular point in time. That’s what photographers are often after, no? These two photos were taken of my children at different times, in the same complex – a converted pier on the south of Manhattan. Kodachrome captured them just how I wanted to.

You’ve experimented with the digital Leica, did you find that to be a good replacement, or are you still waiting for digital to ‘catch up’ to Kodachrome?

Gear is usually inconsequential, but I still think film images are usually superior. People feel this, even people with no film-consciousness. My daughter posted some film shots I took of her soccer team on her Facebook page, and her peers commented on the image’s quality, without any prompting. Here was a totally non-film generation responding to the punch and liveliness of film. Here’s the photo in question: 

I am waiting for the Kodachrome app for the iPhone, of course.

Dave Glass, Veterans Day Parade, San Francisco, ca. 1974

One of the great photo laureates of San Francisco, Dave Glass has a portfolio that spans almost five decades; from the Fillmore during “redevelopment,” to the last major earthquake, and views of most of the hills in the city. Glass has Atget’s ability to capture scenes on the brink of significant change. 

I asked Dave a few questions about this photograph.

How was the photograph made?

The photo was taken with a 1960’s vintage Minolta SR2 single reflex camera with a 50mm lens, Tri-X film, then developed and printed in my darkroom. This image was scanned from the original negative, then cropped to a square format (I shoot film in mostly medium format, so I like the square).

What do you remember about this parade, why were you there photographing it?

It was a typical Veterans Day parade in downtown San Francisco, except it was around the very end of the Viet Nam war era, so the photo may have been shot in 1974. I rarely get a good shot from a parade scene, but it was a transitional time in history and I was around the area with my camera hoping for an relevant photo opportunity. I was lucky to be positioned for a shot close enough to see the soldiers’ eyes and expressions. Photograph was shot on Market Street between 3rd and New Montgomery. The Palace Hotel can be seen in the background, where Enrico Caruso, the great opera singer, was sleeping when the great 1906 earthquake struck.

One of the stories passed down from the Vietnam war era is returning soldiers were treated with disrespect, especially by those against the war. Did you ever observe this in San Francisco, or at this particular parade?

In South East Asia, the Viet Nam war was called the American War. In the early stages of the war, the American soldiers were regarded as heroes protecting American interests and our freedom from communism, (sound familiar?) but after the press revealed the My Lai incident in 1969, the public turned against the war in general and the soldiers in particular with anger and disgust. By the time this photograph was taken around 1974, the war was nearing its end and the anger shifted to the politicians, I did not witness any hostility against the soldiers that day, only honor and respect.

Barbara Crane, People of the North Portal, 1970-1971

Private Views was one of the best photo books of 2009 and introduced many to Barbara Crane. Shot in the summer months of the early 1980’s around Chicago, Crane captured intimate details of fashion, relationships and sweaty bodies. Though she used a large format camera, Polaroid film and flash, the compositions have the freedom of a much smaller camera.

In ”People of the North Portal,” Crane uses a single, busy doorway in Chicago to create an entirely different portrait of the American population.

With each of her series Crane selects the best equipment, film and technique to solve an artistic problem - from abstract, super-saturated Polaroids to perfectly composed large format photographs of the Chicago elevated. Through her mastery of craft, Crane’s work from decades ago feels immediate and contemporary. My first reaction to ”People of the North Portal,” before noticing the date, was that it was inspired by Bill Sullivan’s ”More Turns” series from the mid-2000s. 

I asked Crane a few question about ”People of the North Portal.” You can see more of the work at Higher Pictures gallery or the Museum of Contemporary Photography.

Why did you focus on this location for the series?

I focused on this location of the left front door of the Museum of Science and Industry because of the large quantity and variety of people coming through the door. I was also interested in the brass door frame and the black background inside the doorway which would help make the people look like they were on a stage set. I went there day after day with a 4x5 convertible to 5x7 wooden Deardorff view camera, which was attached to a Gitzo tripod, in a case filled 4x5 and 5x7 sheet film holders.

Once you selected this location and camera equipment, were there other considerations or rules you established for what you wanted capture?

Each time I went to photography I had in mind both specific people interactions and formal spatial relationships. For instance, people holding hands, talking to each other, someone close to the camera while at the same time it was focused on people in  the doorway. It was both an intellectual and emotional experience for me. I had specific ideas for every day I went there to photograph.

How do you know when you have enough photos in a series like “People of the North Portal”? When or what causes you to stop?

I have enough photos when I think I have thoroughly investigated all facets that were available in the subject matter as well as the formal issues I was exploring.

all photographs copyright Barbara Crane.

Amanda Lopez, caliLOVE

Currently on view at FreeGoldWatch in San Francisco, Amanda Lopez’s portraits are something that you’ve likely never seen before: the painted faces of Dia de los Muertos, but done with the delicate touch of a professional make-up artist, shot in a studio setting. The photographs are both startling and glamorous. I asked Amanda a few questions about the series.

What inspired you to put Dia de los Muertos in this black and white, studio context?
I usually shy away from working in a studio but for some reason when I was preparing for the 1st caliLOVE shot, I envisioned it in a studio right away. I knew I wanted the photos to be shot in black and white for the drama and decided that a gray back drop would work best. After shooting the first few models and looking over proof sheets, I decided that I was happy with the outcome and open to the new challenge of working indoors.  

Can you discuss working with Jenni Tay on the look of the make-up? Was there research and planning beforehand or did this all happen when you were in the studio?
Jenni Tay (make-up artist) and Justin Downs (hair stylist) are amazing. I could not have done this project with out them. The process for both the hair and make up kind of happened really naturally. At first I would come to the set with sketch’s and ideas about how I wanted each model to look but after the first shoot I knew that my team was super on point so from then on, I would give minimal direction and they would go with it. Each and every time we did a session, they would blow my mind.

One of the photographs in the show displayed in a light box - it looks great - even when the light is off. Why the light box? Was it a challenge to get set up?
I would have loved to have shown all the images in light boxes but when I started to research them I realized that the cost to make or buy them would have been out of my budget. I really wanted to see at least one image displayed that way so thats why there is only one light box piece in the show. The light box is really special though. I was lucky enough to have two members of the legendary art collective, the Royal Chicano Air Force, create the box for me. Rudy Cuellar and Louie the Foot went out of their way to help me make the box. Louie is a skilled frame maker and build the box for me and Rudy painted and put in the light fixture in for me. These men are legends and I am lucky that I had their support and encouragement.