ICONS: Eikoh Hosoe

© Eikoh Hosoe

On May 6, 2010, Eikoh Hosoe was presented with the 18th-Annual Medal of Honor for Lifetime Achievement in Photography by the National Arts Club. This great evening was hosted by Master of Ceremonies Dr. Stanley Burns, President O. Aldon James, Jr., and Catherine Johnson, Chair of the Photography Committee, with whom I work very closely. The unbelievable list of previous honorees names some of my favorite artists, including Duane Michals (1994) and William Eggleston (2003).

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Phase One Camera System

Last week, Capture Integration let me test out a wonderful combination—the new Phase One 645DF with the P 65+, the world’s first full-frame medium-format digital back. We had the privilege of using it on one of our studio’s largest production shoots to date, and the images that we got with are incredible, to say the least. They provide an amazing level of detail and sharpness, far beyond even the most high-end DSLR systems that we normally use.

Phase One 645DF Medium-Format Camera

The shoot we had borrowed the camera for was originally scheduled for three days. But when the models for the first shoot were detained at the Canadian border, I was able to use the downtime to get a one-on-one technical workshop taught by Doug Peterson, Capture Integration’s Head of Technical Services in Miami. The new version of Capture One’s amazing software allows for such fine and consistent control of color management, details, calibrations, as well as the ability to gauge your depth of field in a quick and efficient manner. The interface is so smooth and quick that it is an absolute pleasure to be able to see well-calibrated and polished proofs just seconds after the shutter clicks. You can also use Capture One for tethering with Canon, Leaf, and Nikon cameras, which can help make the transition from Canon to Phase One feel like a very natural progression.

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LEVIATHANS behind the scenes: The Siren’s Song

The sea monster for my first LEVIATHANS shoot was torn between two worlds. Sirens have often been mistaken for a kind of mermaid, sitting upon a rocky shore or swimming very nearby, luring sailors to their deaths with its song. In later Greek mythology folklore, Sirens are sometimes portrayed as aquatic and mermaid-like, and in fact, the Spanish, French, Italian, Polish, Romanian, and Portuguese words for “mermaid” are Sirena, Sirène, Sirena, Syrena, Sirenă and Sereia. Even in biology, the order Sirenia is comprised of fully aquatic mammals, including the dugong and manatee.

John William Waterhouse, Odysseus and the Sirens (1891)

The Sirens were actually portrayed as three bird-women parented by the river god Achelous and Chthon, otherwise known as Mother Earth. These dangerous beauties resided in a flowery meadow on an island, perpetually calling after their father who had gone to the sea and left them all behind. Another story had them banished to the island (possibly the Isle of Capri) after losing a singing contest with the Muses, and so they took out their frustrations by luring sailors to swim ashore, pouncing on them and ripping their flesh with their talons, then adding their bones to the piles already littering the island. Yet another tells of their ultimate demise, throwing themselves into the ocean after Odysseus passed without succumbing to their song.

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LEVIATHANS behind the scenes: Stories of Sea Monsters

I’m a big fan of the work of William Blake (1757-1827), an English poet, painter, and printmaker (three of my greatest passions!). His paintings and writings all have a sharp apocryphal edge to them that I find really interesting. You are probably familiar with his painting “The Great Red Dragon And The Woman Clothed With Sun,” which was a pivotal part of the plot to the 2002 film Red Dragon. But his work went largely unknown during his lifetime, and due to his entrenchment in mysticism and enlightenment philosophy (including modern anarchism), he was considered mad by most of his peers. (Plus he often spoke of seeing “visions” from an early age, but who am I to judge?) Later critics and artists have come to revere Blake as a master without equal.

I happened upon his painting “Behemoth and Leviathan,” which is part of his series of illustrations based on the Book of Job. The inscription he used from the Bible is incredibly creepy: “Behold now Behemoth, which I made with thee.” Blake’s extensive use of symbolism included designating the right hand as good and the left as evil. In this painting, God is clearly pointing at these creatures with his left hand.

William Blake, "Behemoth And Leviathan" (ca. 1805-1810)

But why did Blake only draw attention to the Behemoth with the inscription? I felt quite certain that it was due to the fact that the Behemoth was some kind of hellish creature, and that the Leviathan was some figment of one of Blake’s visions, perhaps based on some mythological sea creature mixed with childhood nightmares.

I was wrong.

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