{"id":99438,"date":"2017-01-23T11:21:24","date_gmt":"2017-01-23T11:21:24","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=99438"},"modified":"2017-01-16T17:21:34","modified_gmt":"2017-01-16T17:21:34","slug":"book-review-modern-color-fred-herzog","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/book_reviews\/book-review-modern-color-fred-herzog\/","title":{"rendered":"Book review: Modern Color by Fred Herzog"},"content":{"rendered":"\t\t
\n\t\t\t\"Fred\t\t\t

‘Jackpot’, 1961: Herzog’s work focuses on the everyday experiences of ordinary people.<\/p>\n\t\t<\/div>\n\t\t\n

There are always firsts – it’s just that in some fields there seem to be more firsts than others. That’s especially true of photography, a medium that has a history of ‘pioneers’ in single fields. Colour photography is a good example. The real pioneer of the medium seems to change depending on whom you ask (most people, perhaps rightly, would say William Eggleston) but let\u2019s allow some space for another name: Fred Herzog.<\/p>\n

Herzog\u2019s work has much in common with William Eggleston, who eschewed big scenes in favour of the quotidian. It was through focusing on the everyday in the US that Eggleston was able to reveal the deeper truths of the world. Scenes of society in the macrocosm, rather than showing us nothing, showed us everything: race relations, urban alienation, gender politics and class distinctions.<\/p>\n

Herzog\u2019s images, taken in Canada, do much the same. \u2018Content cannot be manufactured, in my opinion,\u2019 Herzog says. \u2018That which I can find is better than that which you can make. That which we find, the work and the use of the people out there, it\u2019s natural, that\u2019s what ordinary people do, that interests me.\u2019<\/p>\n

In his work, we\u2019re shown a world we recognise, anachronistic as some of it may be, yet we relate to it. Despite slight shifts in social, cultural and technological parameters, the world now looks much the same as it did in the \u201960s and \u201970s.<\/p>\n

There\u2019s defiance in the work of Herzog, whose images focused largely on the working class of Vancouver, Canada. Furthermore, his shots were taken using mostly Kodachrome slide film, meaning he was limited in terms of actually getting to exhibit his images in public. Add to this the fact that he was shooting in colour when the photography scene was still seeing the world in tones of black & white, and you have a photographer who was clearly shooting more for himself than for anyone else.<\/p>\n\t\t

\n\t\t\t\"Fred\t\t\t

‘Boat Scrapers 1’, 1964: Through colour and form we find scenes that may be overlooked.<\/p>\n\t\t<\/div>\n\t\t\n

Developing images<\/h2>\n

Herzog started taking pictures in Germany in 1950 where, as part of a youth group who every summer went hiking in the Alps, he was given a Kodak Retina I camera. Those images, taken through a camera that possessed only a primitive peephole viewfinder, were lost some years later as Herzog travelled to Canada on a rust-bucket ship that apparently nearly sank. The boat took on water and all the images were destroyed by the corrosive salt water. However, once Herzog landed on dry land he continued taking pictures, the best of which were black & white and featured German immigrants pouring off the boat into Montreal.<\/p>\n

A while later, Herzog worked as a medical photographer and also became a serious documentary photographer. He\u2019d spend hours walking around the streets of Vancouver capturing the second-hand stores, signs and people. What was striking to Herzog at this time was that he was beginning to identify a genre that had perhaps not yet found its definition: street photography. Until that point, so few photographers had taken up the idea of simply touring the everyday streets and capturing what they saw. Certainly we can see examples of what appear to be street photography in older work \u2013 Walker Evans and Henri Cartier-Bresson, for example \u2013 but Herzog\u2019s work was framed and defined specifically by this idea.<\/p>\n

Eventually, Herzog began to discover the ease and convenience of colour photography. \u2018First of all, when you do black & white, all you have is the basic resource \u2013 a negative. That needs a lot of dancing around the darkroom, and time, patience and energy. You should ideally be a man of leisure, an English gentleman. And a lot of English gentlemen did serious and beautiful photography… But I didn\u2019t have time for that. That\u2019s one reason I did colour slides. I\u2019d get 36 slides back. Beautiful, finish.\u2019<\/p>\n\t\t

\n\t\t\t\"Fred\t\t\t

‘Elysium Cleaners’, 1958: An example of Herzog’s fascination with billboards and signs.<\/p>\n\t\t<\/div>\n\t\t\n

Colour and Herzog were a perfect marriage. Take a stroll through Herzog\u2019s streets and you find a place awash with neon signs, Coca-Cola adverts, yellow\u00a0 light against thick shadow, vintage cars, billboards and the rest. It\u2019s thanks to the lush tones of Kodachrome slide film that he was able to achieve this. It was the best film and most reliable development, although he had to wait an age for the results as he sent them to Palo Alto, California, or Rochester, New York.<\/p>\n

It was worth the wait, it seems. Herzog knew that what he was doing was unique. He wanted to unpack the everyday and shock people with the familiar. But it has taken some years for his pioneering work to be recognised.<\/p>\n

Ironically, considering his images were film through and through, it\u2019s the world of digital that has finally brought his work to the world\u2019s attention. Herzog was able to scan his images and present them as he\u2019d always wanted them to be seen. If ever there was a case for the marriage of analogue and digital practices, this is it.<\/p>\n

SCORE: 5 out of 5<\/h2>\n\"Modern\n

Published by<\/strong> Hatje Cantz<\/p>\n

Price<\/strong> \u00a326.99, 320 pages, hardback<\/p>\n

ISBN<\/strong> 978-3-77574-181-1<\/p>\n","protected":false},"excerpt":{"rendered":"

Photographer Fred Herzog releases a volume that reminds audiences just how pioneering his colour work was. Oliver Atwell takes a look<\/p>\n","protected":false},"author":335,"featured_media":99441,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[663],"tags":[],"product-category":[],"class_list":["post-99438","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book_reviews"],"yoast_head":"\nBook review: Modern Color by Fred Herzog - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Photographer Fred Herzog releases a volume that reminds audiences just how pioneering his colour work was. 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