Methodology
Arthur Leipzig took his photographs in a very casual and honest aspect. He didn’t stage any of them, and he refused to tamper with the surroundings. As a result, he was able to capture the naturally beautiful reactions of the subjects in his images. While this holds true, a handful of the people in Leipzig’s pictures did notice that he was photographing them, so they did look his way in acknowledgment. This may have influenced the direction in which some of them gazed, but it did not take away from the emotion and significance of the moment.
Arthur Leipzig photographs his subjects with great crispness and clarity as to make them appear still, even though many were action shots. Taking most pictures from hip level or below, he presented the view of looking up to his subjects or simply being equal with them. This shows a sense of appreciation for his peers and a way to connect with them. Not limiting himself to only hip-level shots, Leipzig did take many photos from far above the subjects too. This offered a new overhead angle and a new way to look at people and the world around them. Furthermore, Leipzig’s decision to print his images in black and white gave the pictures a simplistic beauty in which viewers could only guess at how they would appear in color.
Dodgeball, 1950 ©Arthur Leipzig
Rain, 1945 ©Arthur Leipzig
In order to take some of my own photographs to compare to those of Arthur Leipzig, I made use of the energy of Ann Arbor as a college town. I used what was available to document various forms of social interaction, daily life, work, and poverty. I also explored some of the more low key areas of Ann Arbor as to discover parts of the city I was not familiar with. By doing so, I had the opportunity to record a wide gamut of people and social groups. In order to work in a similar style to that of Leipzig, I took my photographs from a low viewpoint, trying to stay around hip level. I also used a black and white style to match his technique. Moreover, I attempted to emulate part of Arthur Leipzig’s approach in Growing Up in New York while also adding my own nuances to it.
Play and Work
I really enjoyed the discussion of Leipzig’s unstaged photos yet still the presence of some photos in which the subjects acknowledge the photographer. Maybe make the images included a little larger so they are easier to view.
Cory,
It would help if you broke your writing into smaller paragraphs. In one, you might discuss shooting on the level of kids or from the hip, and what the angle of vision involves. In a second one, you could discuss the perspective of looking down on the action. How does the latter abstract movement? How does it draw attention to the photograph as a two-dimensional space to convey the city and its spirit? The “Dodgeball” photo uses the shadows of the boys as well as the white squares to present a rather modernist image.
Morgan is right. You need to make these images larger so that we can see them better. If you can’t find an image on line, then you can scan one from the book.
Hey Cory! Great job so far. So you say your photographer takes some action shots. Will you be doing the same? If you do i have a great place to do so. In the IM building there are windows that overlook the basketball court. This way you can take an action shot while from an above level! I also agree with Dr. Moore about your paragraphs. Maybe if you split up your thoughts you can elaborate on them more. Have a good break!
Cory,
Jared offers a good suggestion. I would also urge you to pay attention to your language as you refine your portfolio. Here you use the word “capture” too often. You need other verbs. You also use “addition” repetitively. Think about articulating an argument and not merely saying the same thing in a slightly different way.
Cory,
This is much better. “Simplistic beauty” sounds derogatory. Maybe simple beauty. Do you want to reflect on the emotion he conveys through his photos?