Photos & Analysis
In attempting to capture scenes the way Leipzig did, I made several discoveries. It became apparent throughout the process that Leipzig was not simply documenting the experiences of others, but rather engaging with his subjects and becoming a part of the experience, using the lens to bridge the gap between himself and those he was photographing. I say this because when taking photographs of people doing the things Leipzig wanted to shoot, it is impossible to be inconspicuous. When people are at a concert or a parade or a nightclub, they are more than willing to interact with someone who is photographing them, and in fact refuse to ignore a photographer. Because of this, the interaction becomes part of the scene, and the subjects begin to perform for the photo to create what they perceive the photographer to be looking for.
Macklemore, The Palace, Auburn Hills, MI
© Jacob Levine
This type of exchange was initially difficult for me to overcome. I am a very introverted person, and interacting with people I have nevermet, especially in the context of photographing them, is incredibly uncomfortable for me. At the beginning of my experience, it was a huge hurdle to overcome, and I found myself taking very few photos as to avoid this interaction altogether. However, as it became clear that Leipzig could not be done justice without participating in the scene, I slowly began to engage my subjects. While I never felt truly comfortable, I did manage to capture a set of photos that I believe emulate Leipzig’s photographic conversation.
Although I overcame my shyness, a challenge I cannot definitively say I tackled is Leipzig’s use of light. I had originally wanted to shoot in color in order to represent the daily lives of Ann Arborites in their truest forms. However, after my first batch of photos, it became clear that I was not shooting photographs that could ever be mistaken for Leipzig’s. His use of light and shadows to create dynamic photos not only document the world around him but are also stunning works of art in terms of composition. This is largely because of his decision to photograph in black and white. Color photography becomes to complex to capture light in the same way because the different colors distract from the way the light lands on the scene. A shadow in a color photograph is far less noticeable than that of a black and white photo, because instead of looking at black as the shadow and white as the light, you’re looking at blue and red and yellow and everything in between as the light, and shadows are easily overlooked. In light of this realization, I made the switch to black and white, and I believe that made a world of difference in my ability to channel Leipzig.
Charlie the Dog, Ann Arbor, MI
© Jacob Levine
However, while I may have failed in capturing Leipzig in color, I feel as though one aspect of his photographs that I succeeded in replicating was his Jewish eye. Some could argue that Leipzig did not have a Jewish sensibility to his photos as they are of non-Jews and have no religious context, I believe that as a Jew, it was impossible for him to walk into a room full of non-Jews and not feel out of place, based on the time period in which Growing Up in New York was taken. Jews at the time were not yet accepted as normal, and it would have been very clear to everyone around him that he was Jewish and therefore did not fit in. In taking my own photographs, I too felt that same isolation, although in a different sense. Being in Ann Arbor in 2013, my Judaism is neither obvious nor ostracizing. However, my perspective was inherently Jewish, especially based on my subject matter. Many of my subjects and venues were Jewish, and it was in these settings that I felt the most comfortable. The relative ease with which I photographed other Jews without fear of judgment was noticeable compared to the hesitation I felt when photographing non-Jews. In this sense, I too had the same feeling of isolation I imagine Leipzig felt when photographing those who I did not know to be Jews. However, it is worth noting that Leipzig never made a point to photograph anyone because they were Jewish, nor did he ever identify any of his subjects as Jewish. I strayed from that mentality by shooting at two separate Jewish gatherings: an Alpha Epsilon Phi (an all Jewish sorority) Semi-Formal dance and a youth group event for the synagogue where I work.
When assessing my portfolio as a whole, two images stick out to me as exemplary in emulating Leipzig. First is AEPhi Semi Formal,which was taken at the Cavern Club in Ann Arbor, MI in November 2013. It shows my date for the night sipping on her drink and smiling in front of a huge wall of lights. It stands out to me because of the way the light outlines her figure and creates shadows on her face, much in the way that Leipzig does. It also does justice to the emotion of the moment, showing the carefree and happy moment that we were having together. What makes Leipzig’s photos so compelling apart from his composition is his ability to capture the raw emotion of his subjects, much of which is joyful. I think this photo does that better than most of my other shots.
AEPhi Semi Formal, Cavern Club, Ann Arbor
© Jacob Levine
Colonial Lanes, Ann Arbor, MI
© Jacob Levine
The other photo I believe is set apart from the rest is Colonial Lanes, which was taken at a middle school youth group bowling event for the synagogue I work for. It too exudes joy, this time in the excitement of the two boys. What I love
most about this photo is how both boys give off the same feeling of glee in two different ways – the smile on the boy on the left and the motion of the boy on theright. Together they create a sense of pure happiness, a theme that is prevalent throughout much of Growing Up in New York.
What has surprised me most is that I have found this project to be a source of personal growth. I started out thinking that I would just take photos of different people in the style of Leipzig. Never did I think that I would be faced with overcoming my own personality traits in order to do so. It has given me a newfound respect for Leipzig’s ability to take photos of groups so foreign to him with seemingly nothing holding him back. I hope to someday be able to throw myself into any environment without fear of judgment, which Leipzig seems to have been able to do. That kind of trait is enviable, and is what makes Leipzig such a fantastic photographer.
I enjoy some of the concert photographs, however I would include some pictures that display more emotion and a little more variety. Otherwise, this has an interesting view point.
I think you have some very interesting content and images. However, the photographs get a little repetitive. If you want to include a large number of pictures perhaps try to add some more content but slim down the number of pictures of the same subject. Overall, the concert pictures are very aesthetically nice and the Starbucks images are very natural.
Jake,
Both Cory and Morgan are generous in their comments. I would go back to what you wrote in your methodology and compare it with the photos you have put up. There is a significant disjuncture between what you said you wanted to do and what you actually did. The photos of the concert are repetitive and, since they are backlit show no faces of the participants. Leipzig wanted us to see the faces of the men and women he photographed. You need to reconsider how these relate to Leipzig’s portrait of NYC and its people. I think you need to stop photographing from behind (including in Starbucks) and start getting closer to people whom you want to photograph. You offered good ideas in the methodology. Now you need to follow through.
Jake,
The black and white images are much stronger and what you wrote is also much better. I’m glad that you’ve gotten inside the role of photographer and the ways in which a camera invites performance. I also think that your reflection on when you feel more comfortable and how that relates to certain assumptions about being Jewish is truly sensitive and illuminating. I hope that some of the other students will also take the plunge to think about the Jewish dimensions of their photography project.
I enjoyed what you wrote about taking photos from Leipzig’s perspective. It was interesting to read your struggles in overcoming your shyness to take photographs while interacting with your subjects. I would add more photographs of faces up close, like the one of your date at the bar. I think your photographer was equivocally trying to capture the life around the emotions of her subject. I think you do a great job of understanding your photographer’s ability to play with light and I am excited to see your finished product.
Jake,
You’ve written thoughtful analyses of the photos and also of the ways in which you feel that Jewishness enters the picture-taking process. I’m not sure that I would agree with you about the photo of the woman drinking and holding a phone in her hand. I think that in this case you’re reflecting your personal knowledge of her and the situation rather than reflecting on the photograph itself. You need to take more photos in order to get closer to Leipzig’s work.
Also, you need a video as part of the portfolio.