I show her work to my high school photo students when I talk about street photography. I'm glad she was discovered as more female photographers' work needs to be celebrated. The students (mainly female) love her story.
I wish you luck. Just the first reply draws irks already (referencing "her story", which nobody knows which part is true, which is not). But I won't try to stir this up from my end. There is something called pot full to the brim. Takes just a drop to overflow. Vivian Maier needs some rest before it can be healthily discussed.This thread is about Vivian Maier and her photography and her photography. Not the legal issues. Not the opinions of what Mr. Maloof did, did not, should have, should have not done. Only about her photography. No discussion of politics will be tolerated.
Talk about her photography, its merits, what she did, what she could have done better.
I wish you luck. Just the first reply draws irks already (referencing "her story", which nobody knows which part is true, which is not). /QUOTE]
This holds true for most and maybe all stories, not just hers. Nobody knows. But we do have the photographs and they are what matters.
Back to her photographs please.
This from the FAQ on the Vivian Maier website:With film manufacturing having gone through the doldrums in the past 15 years or so, there was, as exists today, many a discussion on how to treat expired film. There's even an ongoing thread right now of someone wondering how to best develop TMY shot back in 2006. And then we have Vivian Maier, who didn't develop the vast majority of her shots; they only being developed relatively recently (and maybe still ongoing). I recall when I first heard about this seeing all the of unexposed rolls of film, and how it was being catalogued and such before developing. I don't recall who was doing the developing. But I do find it interesting that they have been able to perform the developing DECADES after the fact, wherein I would have to imagine the film was not stored--at least not always--under ideal conditions. The images I've seen (and granted, I do not know if these were developed long ago or relatively recently) show no signs of fogging or other issues one would expect with film that has been sitting around for so long. Does anyone know what special procedures, if any, were taken in more developing?
There were about 2,000 undeveloped black & white rolls which we processed and scanned. They were processed by professional archivists. The chemistry and developing times had to be figured out for these old rolls. The results were mostly very successful. However, due to the aging and conditions these were stored for decades, fogging was an issue for a small number of rolls.
There are around 700 rolls of color Ektachrome 35mm film that we have not yet processed. This film is stored in a refrigerator until it will be developed.
I do not know the date of the FAQ or the current status of the 35mm Ektachrome rolls.
I am curious. I find much of her Chicago photography taken later on in her life to be more interesting and more compelling but I read a Biography written by Pamela Bannos and the writer appears to be more impressed with Ms Maier's earlier work in New York and France. Does anyone else have any opinions of their own and, if so, do you find all of her work photographically interesting or just parts of it? Or, of course, maybe none of it.
Whoever did the developing and printing did a fine job. Her shots of Paris and USA streets make for an interesting mix.With film manufacturing having gone through the doldrums in the past 15 years or so, there was, as exists today, many a discussion on how to treat expired film. There's even an ongoing thread right now of someone wondering how to best develop TMY shot back in 2006. And then we have Vivian Maier, who didn't develop the vast majority of her shots; they only being developed relatively recently (and maybe still ongoing). I recall when I first heard about this seeing all the of unexposed rolls of film, and how it was being catalogued and such before developing. I don't recall who was doing the developing. But I do find it interesting that they have been able to perform the developing DECADES after the fact, wherein I would have to imagine the film was not stored--at least not always--under ideal conditions. The images I've seen (and granted, I do not know if these were developed long ago or relatively recently) show no signs of fogging or other issues one would expect with film that has been sitting around for so long. Does anyone know what special procedures, if any, were taken in more developing?
Being a woman might have help her especially with people like Dali.She may have seen work by Paul Strand - that could have been inspirational. It's also possible that her using a camera in the street grew naturally out of an initial interest in photography and a lack of subjects. To get around that, she may have gone looking for interesting photos.
She lived in cities and could have seen any number of small or large gallery shows. She took a photo of Dali in front of MOMA - so she was obviously there. Also, something to notice about that: she was forward enough to ask for the photo. A lot of comments suggest that, because of the waist-level finder, she was essentially invisible while taking her photos - or because she was a woman she went unnoticed. I think she was quite a bit more in charge of what she was doing than that. You don't get such good close photos by being a wallflower.
Whose time? Yours or the photographers? And why single out HCB? Much of his street photography was just as mediocre as any. He didn't invent the idea, but doggedly pursued the intent to capture a great composition candidly, on the fly. There are many since who have done it as well and probably technically better.I think street photography is often a waste of time unless you're HCB
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