Herman Leonard

[cobalt]

Hi.
After getting sick and tired of viewing the same old, done to death scenes (Monument Valley, living/dead flowers, dead wood, living and dead trees, trees in fog, various barn parts, farm implements and sunsets, and the infamous, omnipresent, cala lilly (and yes, I have shot them too)), to the point that I was just about ready to chuck all my gear into the Ebay stream, I came across a book entitled Jazz, Giants, and Journeys, the Photography of Herman Leonard.

I convinced a store employee to rip the shrink wrap off of the store's sole copy. I sat down and gorged my eyes on the work of the man whose photographic vision is singularly responsible for my interest in photography. More specifically, it was the image of Dexter Gordon, saxophone resting against one knee, smoke wafting into the air, members of his band drifting into the background, that convinced me that, although just about anybody can be trained to make a technically "correct" picture with a camera, when such overwhelmingly brilliant talent is harnessed for the purpose of creating black and white images, photography is truly elevated from the rank level of technical vocation to the aristocracy of fine art form.

Having lamented, from time to time, my unwillingness to part with the funds required to purchase the book The Sound I Saw (Roy Decarava), only to never see it on the stands again, I gladly let go of 60 dollars to purchase this tome filled with sumptuously rendered imagery; my lesson was well learned.

Although fluent in many photographic genres, it is Leonard's jazz images that wrest a smile from my soul. The images speak. They shout. They whisper, simmer, sing and seem aware of being viewed decades later. Though many of the subjects are long deceased, the images, most of which were produced with a 4x5 Speed Graphic, are as fresh and vibrant as a newly minted watercolor painting...veritable soliloquies in silver. Only the truly art impaired could view the work presented here and not be moved.

Thank you Mr. Leonard, for reminding me why I spend so much time, money, effort, blood, sweat and tears in the pursuit of being like you when I grow up.

[Ed Richards]

He is still alive and kicking:

http://www.hermanleonard.com/default_content.html

[roteague]

After getting sick and tired of viewing the same old, done to death scenes (Monument Valley, living/dead flowers, dead wood, living and dead trees, trees in fog, various barn parts, farm implements and sunsets, and the infamous, omnipresent, cala lilly

Too bad. Those are things I never get tired of looking at. Then again, I love nature, and I love the outdoors - I can't think of anything better than looking at things you love.

[Jan Pedersen]

Miles Davis and Charlie Parker shot by Herman Leonard have been on my walls the last 20 years. Unfortunately only as a poster but they are still outstanding.

jan

[Greg Lockrey]

Miles Davis and Charlie Parker shot by Herman Leonard have been on my walls the last 20 years. Unfortunately only as a poster but they are still outstanding.

jan

Here is your chance to get signed silver gelatin prints. Thanks for posting the site Ed. Among two of my favorite subjects, Jazz and Photography. Those were refreshing. Look at the quality of his use of light. I don't think that today's film can do that for some reason.

[Ed Richards]

> I don't think that today's film can do that for some reason.

I do not think it is a film problem, I think it is a changing fashion in photographs. See his modern work:

http://www.hermanleonard.com/catalog...eans/index.htm

He learned with Karsh, and adapted Karsh's signature lighting. Many of the shots look to have been shot with existing stage lighting, but in small venues where you would expect some good reflected light in the background. While I hate smoking, the haze of tobacco smoke in the real clubs should soften the light, like the dust does in places known for great light, such as Santa Fe and Florence. He also uses it to great effect in several images. And of course, the magic of old single coated lenses, as I am sure someone will assert.:-)

[Greg Lockrey]

Those old flash bulbs did put out a nice light. That had a lot to do with it also. BTW, I still have couple boxes with my old Heiland flash head.

[Bill_1856]

I trust you bought the book, and didn't just fondle it?

[cobalt]

Actually, his work, for the most part, had nothing to do with camera mounted flash. If you look at the images, the light is generally not originating from the point of view of the camera.

[Sal Santamaura]

Too bad. Those are things I never get tired of looking at. Then again, I love nature, and I love the outdoors - I can't think of anything better than looking at things you love.

Exactly. But, since most humans behave like herd animals who must conform to fashionable trends, you (and I and, probably a fair number of others) display an attitude that is out of step with the current landscape bashing evident here and on other forums.

Love what you photograph and you'll love your photographs. Try to make good pictures of something you're not emotionally connected to and expect disappointing images.

As contextual information: jazz is the central music of my life. I've financially supported my local 24/7 jazz station since it adopted that format over 25 years ago. It wakes me and puts me to sleep via a clock radio, accompanies me on a 100-mile daily round trip commute and comprises the vast majority of my recorded music collection, spanning LPs, reel-to-reel tapes and CDs. However, I could no more give an exemplary performance photographing jazz musicians than I could play improvisational jazz. A man's got to know his limitations. So I photograph my other passion, the landscape. Its pace is compatible with my measured, comprehensively observational personality.