Photography and Text by Bartje Parade, Copyright 2022
Amsterdam: A Change in The City That Never Slept
Almost two years ago on March 15, 2020 the world changed. Not only in Amsterdam, The Netherlands but all over the world. Life changed completely for everyone. Schools closed, traffic jams erased like there have never been cars. Zoom conferences became a new standard, working from home was the new norm. Clubs, bars and non essential shops closed . Planes didn’t fly anymore. Runways became parking lots. People stayed home.
I’m a natural born Amsterdam guy. I used to work as a music promoter, DJ, film director and tour director. One day I woke up and there was no work. I became unemployed and was scared for the unknown. I isolated myself from almost everybody I knew. Something I thought could only exist in a nightmare and it was sometimes.
After a couple of days I decided to walk into town doing day trips from home to different neighborhoods and tried to visualize my hometown in this surreal situation. The results you can see in this series of pictures. I hope as tourists you like this photo story about “Amsterdam instead of Covid: and would love to see you back in real life as soon as it is possible!
About The Author: Bartje Parade is a lifelong resident of Amsterdam, The Netherlands. He is currently working for an American tourist company and also available for private tours by contacting him here: email@example.com
This is Bartje Parade’s first contribution to Tony Ward Studio.
In this photograph report, I plan to examine a piece called the White House Gate created by Rosalind Solomon. I will start with the biography of the photographer, Rosalind Solomon. After, I will explain how print quality, print materials, and print size impacts the image of The White House Gates image. Then I will claim that The White House Gate image is best categorized as its dominant formal characteristics as defined in John Szarkowski’s book: The Photographer’s Eye the detail. Lastly, I will conclude with how the other components Szarkowski mentioned will shape the photograph.
Rosalind Solomon: Biographical and Historical Context
Rosalind Fox Solomon was born on April 2 in 1930, at Highland Park, Illinois. She is an American artist, established in New York City, known for her portraits and connections to human suffering, ritual, and survival. Solomon attended Highland Park High School and graduated in 1947. She then attended Goucher College in Baltimore, Maryland, and graduated with a Bachelor of Arts in Political Science in 1951. Then, Solomon got married and moved to Chattanooga, Tennessee. She then later divorced 63 years later after having two children. In 1968, Solomon began her photography work. She occasionally studied with Lisette Model, whose an Austrian-born American photographer primarily known for her frank humanism on her street photography from 1971 to 1977.
Before Solomon started to get into photography, she became the Southern Regional Director of the Experiment in International Living. She visited communities throughout the Southern United States, where she recruited families to host international guests to build on cross-culture in a personal way. Through her volunteer work with the Experiment in International Living, Solomon got the opportunity to travel to Japan, where Solomon stayed with a family near Tokyo. Later, when Solomon was 38 years old, she began to use an Instamatic camera to convey her feelings and ideas, which was a turning point in her career and life experience in photography.
In 1977 and 1978, Solomon moved to Washington where she photographed artists and politicians for her project series “Outside the White House”. Within this series, she photographed “The White House Gate”, the one I will later be exploring. This project lasted for about two years. Later on, in 1978, John Szarkowski included her work in the exhibition Mirrors and Windows at the Museum of Modern Art and presented examples from her Dolls and Mannequins series in the show. The use of dolls, children, and mannequins was some of the items she used as her subject. Also, Szarkowski selected 50 of her pictures to be part of the MoMA’s permanent collection. Her pictures appeared over the years in many different group exhibitions at the MoMA such as American Children, American Politicians, Pictures by Women: A History of Modern Photography, and The Original Copy: Sculpture in Photography 1839. Recently, the MoMA included her work in the anthology Photography at MoMA: 1960—Now, and curator, Peter Eleey, even dedicated a room to present her art pieces at MoMA PS1 in the Greater New York 2015 exhibition. Ultimately, this led to the rise of her as a photographer and the beginning of her work internationally like Peru, India, Germany, Zimbabwe, South Africa, etc.
Overall, Solomon’s work circulates between the personal and the universe as a whole. Her expertise is in her interpretation skill and the ability to take a snapshot of both social elements of the places she travels. In 2019, her artwork was recognized by receiving the Lifetime Achievement Award from the International Center for Photography. Over the past 45 years, Solomon has created inspirational work, presented in almost 30 solo exhibitions, about 100 group exhibitions, and in the collection of over 50 museums worldwide.
Medium and Presentation
As mentioned, Solomon worked on the “Outside the White House” series. In this series, Solomon created a piece called “The White House Gate” in 1977. The photograph is present in the Jane Lutnick Fine Arts Center at Haverford College. This image is a gelatin silver bromide print. A gelatin silver print can be sharply defined and detailed based on the light sensitivity to the silver halides. Also, this type of print can last several hundred years. The picture has a strong negative, specifically on the gate, which is probably due to the silver chloride to darken the gates and make the gate pop in the image.
The dimension of the picture is 15” x 15” (38 cm by 38 cm). The photograph is generally a regular size. But, it’s over matted with a beveled-shaped edge around the image. So it allows the viewer to focus more on the White House gate. Overall, the purchase of the photograph was through a Patrons of Art gift in May 1986.
“The Detail” in The White House Gate
In the book, the Photographer’s Eye, John Szarkowski describes an overview of the fundamental difficulties and opportunities of the photographs. In the introduction of the book, he offers a brief historical overview of photography, specifically how photography has evolved over the years and how he views it as a unique characteristic. Szarkowski begins the book by stating that “the invention of photography provided a radically new picture-making process- a process based not on synthesis but selection. The difference was a basic one. Paintings were made-constructed from a storehouse of traditional schemes and skills and attitudes-but photographs, as the man on the street put it, were taken” (1). This led to the posed question – how can the process of photography be used in creating meaningful/significant pictures and valid art? In the book, Szarkowski argues that photography has a unique place within the broader world of artistic practice. Throughout the book, Szarkowski discusses and provides exemplar photographs of characteristics of the medium that is represented as a form of art but does not define discrete categories of artwork. He states five main characteristics: the thing itself, the detail, the frame, time, and vantage point that are important for the creation of eloquent photography.
According to The Photographer’s Eye, Szarowski would say that the photograph of the White House Gate would be a picture representing “the detail”. The idea of “the detail” photography connects to depicting reality and depicting reality as it happens, in front of the photographer. The photography can not really “pose the truth”, but can capture snippets of the truth as it unfolds. So, the photographer needs to be content with representing the details of a narrative or an event, rather than trying to represent the whole thing.
In The White House Gate image, Solomon shows us different parts of the image. In the photograph, Solomon focuses on multiple details. One detail is the picture being taken in 1977 in front of the White House Gate at Washington, District of Columbia, US. The photograph displays the northwest gate of the White House during a snowstorm. The photograph shows that it was currently snowing as it was taken. In the picture, we see snowflakes falling as well as sticking to the gate and the ground. This detail informs the viewer of the time/season it occurred, which captured a fragment in depicting reality.
Another fragment is the tire marks on the ground. The tire marks are emphasizing that a car must have recently entire the White House before Solomon took this picture. Or Solomon could have intentionally had a car drive into the White House before she took the picture. This is another fragment that part takes in bringing the whole picture together.
Lastly, the darkness of the gate of the White House is a vital detail for the narrative. The strong negative of the photograph helps bring viewer attention to the gate and what surrounds the gate. Ultimately, through all these different elements and details, Solomon is portraying a form of a statement.
The Thing Itself, The Frame, Time, Vantage Point
In The Photographer’s Eye, Szarkowski states that the first characteristic is the thing itself. The “thing itself” means that photography provides a representation of the real world. Photographers focus on divulging what already exists. In the White House Gate image, Rosalind Solomon emphasizes a place that already exists. Specifically,that is very known to the US population and others around the world. But in the picture, she decided to center the image on the gate instead of the actual White House buildings itself.
Next, the “frame” refers to the edge and the border between the elements of the real scene that the photographer decided to include, and what they decided not to include. Solomon chooses to focus the photograph on the frame, specifically on the White House gate when viewers first see the image.
The fourth characteristic is “time” which provides the photographed location over time. Furthermore, the photographs can not directly represent the past or the future but can imply it. In The Photographer’s Eye, Szarkowski mentions two ways that time exposure produces images and insight. The first one is long time exposure and, the second one is a short time exposure. In the White House Gate image, we see time play a role with the snow falling and car tire marks in the snow. The snow informs us of what season it currently was when the picture was taken; which was winter and, the time the picture was taken it was snowing.
Finally, Szarkowski identifies the “vantage point.” The vantage point is when the photograph shows us the world from a variety of unusual angles and perspectives, which can alter our perspective of the world. Solomon portrays the image of the White House gate through a unique vantage point that can allow viewers to interpret the image in many different ways.
In all honesty, I had a hard time deciding what to do for this shoot. Choosing a good friend of mine to be my model and subject took little thought, but the matters of where, how, and when proved to be much more challenging than I anticipated.
We first met up on Saturday evening, but just as he had meticulously completed his look, one foot out the door, a small family emergency arose. We rescheduled for Wednesday night, and during this second attempt, we had spent about an hour and half working on our set and shooting when my camera battery died. Knowing I was running out of time, my panic began to rise.
Luckily, the next day, we were able to pick up a battery, get lunch together, and decide on a location. As we arrived at the Ardmore Ave Septa Station, our chosen set, we were met by an elderly gentleman who asked us to call an ambulance for him, as he needed a ride to the hospital. We then waited for said ambulance, said goodbye, and only then were we able to complete our shoot. And of course, this all occurred within two and a half hours.
We decided upon the Ardmore Ave Septa Station predominantly for the lighting, as it was the afternoon and the sun had already begun to drop in the sky. I hadn’t yet been to the station since they had completed construction, so I was curious to see what it looked like as well. Looking back, the fluid relationship of a train station was a fitting set for the chaos of this shoot.
When I recount these experiences, I can’t help but chuckle at the ridiculousness of it all. How could it be that every time we tried to complete this project, something would disrupt our plans?
But of course, that’s what we’ve come to practice. Our safety plan: adapt and survive.
During the past year, everyone has had to learn how to adapt. Adapt our health practices, adapt our social lives, adapt our emotions and feelings, adapt to survive. This piece came together under suboptimal conditions and in such a short time, but it felt easy after all the bumps we hit. Like this shoot, this year has forced us to face obstacle after obstacle, and still maintain a forward motion. So we adapt, we survive, and we thrive.
About The Author: Aliana Ho is a student enrolled at Haverford College, Haverford, Pa. Class of 2022.
Tired of being inside? Even after going out for a walk or to exercise do you really want to go back inside? Enjoy outdoor eating and happy hour with friends and family who can visit you outside. Add a heater or fire pit in winter and a sun umbrella in summer. Add plants like holly and bamboo for year round greenery. Add ambiance like lanterns and wall art. Too much sun, create a cozy feel with a retractable awning – let’s play, let’s dream, let’s create your personal outdoor Plus Room!
Tiny balcony to expansive yard, ideas you will love to loll in.
Sandy Ward. Photo: Tony Ward, Copyright 2021
About The Designer: Sandy Ward is a renowned interior designer and builder based in Philadelphia. To learn more about Sandy Ward Design, click here:https://sandywarddesign.com
I’ve never met a Bangkok this quiet – devoid of the hustle and bustle, the monotonous hum of vehicles, the faint smell of smog lingering in the air. I’ve never met a Bangkok where motorbike taxi drivers linger in their stations, idling, waiting in apprehensiveness for a customer; where roadside street stores don’t burst open with hungry lunchtime customers; where delivery drivers outnumber sit-in patrons.
And yet, can you ever truly hollow out a city?
Signs of life and normalcy exist even within the quiet: clothing still gets hung on lines; garbage bags still need collecting; restaurants still cook dishes that we all know and love. Even if I returned to a city that I had trouble recognizing, it didn’t mean that it was no longer the same city. People often tend to forget that we do not all have the luxury of self-isolating and self-quarantining in tumultuous times like this; for many, life has to go on. And life does go on, in the same cyclical cycles that it always has. Life grows; the absence of one thing sometimes leads to the flourishing of another.
In that sense, ‘Vacancies’ isn’t about true vacancies at all. Rather, it is about how perceived emptiness can sometimes actually be full of life, can still hold hints of existence and the what-once-was. Just like each individual photo is constrained in black, we too have become boxed into very selective views of our current world and lives. We’ve coloured in our blinkers, sometimes in bleaker shades than they should be. As I walked around the city creating this project, I came to realise this the most. That the memories of the city I love haven’t been lost – they’ve simply been put on a halt. The remains are still there but quieted, limited in their former capacities.
It simply waits for us to reach out once again, and press the amplify button.
About the Author: Athena Intanate is a freshman enrolled at Haverford College, Class of 2023. To access additional articles by Athena Intanate, click here: https://tonyward.com/nan-goldin/