![]() ![]() That was an amazing day with them and, unfortunately, the last time I was able to photograph Doreen. It was very important to both of them that I record their love in a hyper-realistic manner. She has an intense energy that can transform mundane happenstance into a blaze of glory in a photograph. Doreen loved to be photographed, and was very generous and open about her life on the street. Well, documentary photography is every bit as important in the United States.” - Trish Deitch If you don’t show what their life is really like, then it’s just another big lie.” She adds, “We think of documentary photography as being in Tanzania or Libya or rape victims in the Congo. Sometimes my camera angles are funky and the people that I photograph are kind of wild and funky and they cut loose and I take pictures of how they are. “I’m not looking to take postcard pictures of people on Skid Row,” she says. “That aesthetic stayed with me.”īut it was when Stein found herself set apart again-broke and raising a young son alone in a wealthy area of Del Mar-that she stumbled upon Skid Row while out for a drive. Eugene Smith’s book of beautiful, horrifying black and white photographs of people with mercury poisoning in Minamata, Japan. During those years, Stein read about apartheid, slavery, and the holocaust on her own, and discovered W. Stein, a self-described staunch social realist who was a figurative painter before she discovered photography, was raised by her father in Pennsylvania in the ’70s, one of very few Jewish children in a racist town, and that set her apart. But we’re living in a time now when we need to see the truth.” “And that’s a serious problem for all of us-that we allow ourselves to be lied to about the most important things. Social media has an algorithm that censors, so it’s only the pleasant things that we see,” says street photographer Suzanne Stein, who has spent the last five years making intimate portraits of homeless people living in Skid Row. ![]()
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