About Me

My photo
Toronto, Ontario, Canada
"To take a photograph is to align the head, the eye and the heart. It's a way of life." ~ Henri Cartier-Bresson
Showing posts with label Documentary. Show all posts
Showing posts with label Documentary. Show all posts

Monday, April 8, 2013

Japanese Bosozoku Biker Gang Youth by Photographer Yoshinaga Masayuki

Bosozoku ("violent running tribe") 
 Japan's leading maverick photographer reveals a unique vision of the notorious Japanese bike gangs, often linked to the underground activities of the Yazuka. A former member of the Bosozoku himself, Masayuki Yoshinga has revealed hidden secrets of Japan's biker gangs.

 Bosozokus were first seen in the 1950s as the Japanese automobile industry expanded rapidly. The precursors to the bōsōzoku were known as kaminari zoku (雷族 "Thunder Tribe"), urban motorcyclist more akin to the British rockers.

Many, if not most, of bōsōzoku came from a lower socioeconomic class and may have used the motorcycle gang activities as a way to express disaffection and dissatisfaction with Japanese mainstream society. Many of the most hard-core bōsōzoku would become lower-ranking members of the Yakuza after turning 20 years of age.

 In the 1980s and 90s, bōsōzoku would often embark on large rides, in which up to 100 bikers would cruise together slowly en masse down an expressway or major highway. The motorcyclists would run toll booths without stopping and would ignore police attempts to detain them. New Year's Eve was a popular occasion for the massed rides. The bikers would sometimes smash the cars and threaten or beat up any motorists or bystanders who got in the way or expressed disapproval with the bikers' behavior. The bikers would also often target foreigners for violence. Participation in the gangs peaked at 42,510 members in 1982.[wiki]


Check out the baseball bat
Bōsōzoku are known to modify their motorcycles in peculiar and often showy ways. A typical customized bōsōzoku bike usually consists of an average Japanese road bike that appears to combine elements of an American chopper style bike and a British café racer, for example: over-sized fairings like those found on café racers, raised handle bars like those on a chopper. Loud paint jobs on the fenders or the gas tanks with motifs such as flames or kamikaze style "rising sun" designs are also quite common. The bikes will often be adorned with stickers and/or flags depicting the gang's symbol or logo. 








Japanese motorcycle bikers documentary: "Sayonara Speed Tribes" (trailer)



Full length doc on the Japanese Motorcycle gangs Circa 1976

Tuesday, January 15, 2013

National Geographic: The Last Roll of Kodachrome

They give us those nice bright colors 
They give us the greens of summers 
Makes you think all the world's a sunny day,
 Oh yeah I got a Nikon camera 
I love to take a photograph
So mama don't take my Kodachrome away 
Paul Simon, 1973

 Photographer and National Geographic contributor Steve McCurry doesn't want his Kodachrome taken away.

He's taken over 800,000 photos taken with the film — including his most famous one. When McCurry's arresting shot of an Afghan girl in Pakistan was featured on the cover of National Geographic in 1985, the subject's gazing green eyes captured the world's attention. It could not have been created without Kodachrome.

 After spending almost 30 years shooting with Kodachrome, McCurry equates losing the medium to losing a dear friend. He has been given the chance to take one more roll — just 36 frames — for the George Eastman House International Museum of Photography and Film. He'll continue traveling around the world, looking for shots that will be best captured in the exceptional colors of Kodachrome. [via NPR]

Afghan Girl, 1985 ~ Steve McCurry

Tuesday, May 31, 2011

Photographer Nobuyoshi Araki Documentary









Photographer Joel-Peter Witkin Documentary - Vile Bodies

Joel-Peter Witkin is a photographer whose images of the human condition are undeniably powerful. For more than twenty years he has pursued his interest in spirituality and how it impacts the physical world in which we exist. Finding beauty within the grotesque, Witkin pursues this complex issue through people most often cast aside by society -- human spectacles including hermaphrodites, dwarfs, amputees, androgynes, carcases, people with odd physical capabilities, fetishists and "any living myth"


His constant reference to paintings from art history, including the works of Picasso, Balthus, Goya, Velásquez and Miro, are testaments to his need to create a new history for himself. By using imagery and symbols from the past, Witkin celebrates our history while constantly redefining its present day context. Visiting medicals schools, morgues and insane asylums around the world, Witkin seeks out his collaborators, who, in the end, represent the numerous personas of the artist himself.



The resulting photographs are haunting and beautiful, grotesque yet bold in their defiance – a hideous beauty that is as compelling as it is taboo. Witkin begins each image by sketching his ideas on paper, perfecting every detail by arranging the scene before he gets into the studio to stage his elaborate tableaus. Once photographed, Witkin spends hours in the darkroom, scratching and piercing his negatives, transforming them into images that look made rather than taken. Through printing, Witkin reinterprets his original idea in a final act of adoration.

Joel-Peter Witkin lets us look into his created world, which is both frightening and fascinating, as he seeks to dismantle our preconceived notions about sexuality and physical beauty. Through his imagery, we gain a greater understanding about human difference and tolerance.





Warning: Not for the faint of heart



Part one of two








Sunday, May 29, 2011

Diane Arbus Documentary

"Nothing about her life, her photographs or her death was accidental or ordinary. They were mysterious and decisive and unimaginable except to her. Which is the way it is with genius."
~ Richard Avedon.



part 1



In 1967, when the Museum of Modern Art in New York City presented New Documents -- a major exhibition of the personal visions of several photographers -- the surprise of the show was the work of Diane Arbus. On her own, against the advice of many friends, she had pursued her documentation of people on the fringes of society, and the astonishing in the commonplace. Suddenly she was famous, with students and imitators. By 1972 her work was everywhere, and was featured at the Venice Biennale, where it became, as New York Times critic Hilton Kramer said, the overwhelming sensation of the American Pavilion. But by then Diane Arbus was dead, by her own hand.

This half-hour documentary was made that same year. It explores her work and ideas, often in her own words as spoken by a close friend. It includes reflections by some of the people who knew her best; daughter Doon, teacher Lisette Model, colleague Marvin Israel, and John Szarkowski, at that time the director of the photography department at the Museum of Modern Art.

Man Ray Documentary ~ Man Ray's Life and Work by Jean-Paul Fargier


Masters Class: Henri Cartier-Bresson L'amour tout court (Just Plain Love)