Shades of Grey - 01 September 2022

236 Pages·2022·78.4 MB·English

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Fine Art Photography Magazine
06 JOEL SIMPSON

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36 ALAIN SCHROEDER

82 ELI MATITYAHU

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112 ERICA READE

134 WOJCIECH KARLINSKI

158 DOMINIQUE BONNET

180 HARVEY STEIN

198 ARLES 2022

206 =NEWS

Shades of Grey Fine Art Photography Magazine is a 2021 Jean Michel Missri/E-presse.com publication
Editor in Chief: Jean Michel Missri

Contributors. / Columnists.

Eli Matityahu

Photography technique: Charles Lupica, Deborah Lupica

Production assistant: Melusine Tauzin

Cover image by Alain Schroeder

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SIMPSON

JOEL

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JO=L SIMPSON

“INTERVIEW ”

How and when did you start photography, and what was your learning path?

Like many boys growing up, | was fascinated by rocks and fossils, which | collected (I was dubbed “fossil face”
in the 6th grade), but eventually even more by photography. My uncle Sidney, a photographer and movie
maker himself, gave me a simple 35mm camera for my Bar Mitzvah (age 13), and | started shooting with
Kodachrome I, ISO 10. The camera, a Kalimar A, had a fixed 45mm lens, no range-finder (so | had to estimate
distances), and had problems with its winding mechanism, so | ended up with unintentional double exposures
and bizarre juxtapositions. In one case a single slide combined Adlai Stevenson and a closeup of my dog’s
puppy—and | hadn’t even heard of Surrealism! Meanwhile, | read a book from the town library entitled 35mm
Photo Technique, and that was my initial education. Right away | wanted to shoot landscapes. My father drove
the family from New Jersey to California in August of 1960 (in an unair-conditioned Rambler station wagon),
and all | wanted to shoot were scenics. He wanted me to document the family on vacation—and he had bought
the film! When we got back, | projected the best ones on a sheet | hung in a doorway, trying to imagine myself
back at the Grand Canyon.

The following year he bought me darkroom equipment at the old multi-storey Willoughby’s in New York, and |
began developing and printing black-and-white. | became class photographer in Junior High School (as it was
called then), and yearbook photographer in high school. | had a bulky electronic flash, an Ultrablitz Meteor. |
soon graduated to an SLR—a Besseler Topcon, and we visited Niagara Falls. | developed an earache, so in
compensation, | got to take a helicopter ride above the falls—for the serious price of $15. | still have the slides.
(I recently spent over $600 for a helicopter flight over Hawai'i). | bought a subscription to Popular Photography,
which introduced me to the work of the great photo artists and where | learned to improve my technique. |
became a big fan of Cartier-Bresson, and others, who opened me up to street photography.! won a photo
contest in high school for a telephoto shot of a bird silhouette against the glistening water of Chesapeake Bay.
In college | acquired a Nikon F and shot “pretty girl” models for the monthly calendar. | used the student
darkroom, for which one paid 10¢/per hour, and kept one’s chemicals in a locker. | was looking at lots of
photographs. It was the mid-1960s, and | did a certain amount of what we now call social documentary in New
York and later in France during my junior year abroad. Some of these are still quite interesting. Meanwhile, |
was pursuing an academic education in languages and literature. | had my first show at the Brown University
student center, while | was in graduate school: black-and-white prints, bleed mounted on cardboard and hung
with string and library clamps. No reviews. While at Brown | audited a photography course at the Rhode Island
School of Design, next door, where the first assignment was photographing clouds. The class was also visited
by Yosuf Karsh and Aaron Siskind, who taught there. Karsh encouraged us to have fun as photographers.

In the late 70’s | switched to color prints, made in labs. Whereas | had kept my monochrome negatives in
glassine envelopes in boxes, | kept my color negatives carefully filed in large looseleaf notebooks, and my
prints in similar ones but with fancier, plastic-embossed covers. | had my favorites enlarged. My education
still consisted in learning from the photographers | admired. After five years teaching English in New Orleans,
| switched careers in favor of jazz piano in 1978. By 1985 | was pretty good at it, with photography still a
constant in my life, documenting everything, now including two daughters, and capturing the wilds of Southern
Louisana—wetland forests, flooded fields of cedar stumps—and occasional trips to Europe. Wherever | went,
however, | paid special attention to the rocks. Perhaps it was a fascination with natural abstractions, but their
geology also interested me. In the 90’s | created an interactive encyclopedic history of jazz piano with Dick

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