Bem Vindo

(Fado Pt 3)

At the end of the cultural event during my Portuguese lessons (detailed in Fado PT 2) I made it a point to meet the performers at the conclusion of the event. The Fadista, Margarida Arcanjo, whose real avocation is as a musical therapist and who will soon be on her way back to London, told me that she would be performing the following week at a place she thought I would be interested in knowing of: Associaçao de Fado Cato. In Alfama it goes without saying that it is to be found on a steep hill. I initially had trouble finding it. It appears as an otherwise anonymous looking building near the Cathedral of Lisbon. There were no signs telling me I had reached my destination and GPS was doing its usual poor job of negotiating the tight, steep and winding streets of Lisboa.

It was then that I spotted a small bulletin board and an open door with a handwritten “Bem Vindo” on it. Above two VERY steep stone steps were more interior steps leading up. I figured “why not?” Once inside, those step led me up a dark high ceilinged hallway that is lined with the signatures of performers on the both walls. At the top of the steps I met Frankie. He informed me I was at the right place but asked if I had a reservation. I confessed that I did not as I hadn’t known one was required. He turned and quietly explained to the proprietor, - a smallish elderly lady who then looked at me, sized me up, gave a warm smile, and then turned back to Frankie with a slight nod.

Margarida Arcanjo

Frankie then explained that admission was for music and dinner; that the cost was $55 and it included a 14-course set of tapas including beer and wine. “Could I substitute ginger ale?” I enquired. “Of COURSE!” Frankie replied, and all was good. Then I turned to see I inside what looked like a small chapel of quite some vintage that was all stone wall and a high vaulted ceiling. These walls were lined with old LPs and it felt like old Village or SoHo days. I was led to a spot along a handmade farm-type table as they all were and which they all were. Bread, olives, cheese, bean dishes and, of course, my ginger ale appeared. Margarida arrived and we said hello. Before long the lights were dimmed. Three musicians, André Silva on Guitarra Portuguesa; José Elmiro Nunes on Classical Guitar; and Fernando Jacques on Bass, went up to their seats on the stage which was but a simple platform. There were only two tiny lights to illuminate the performers.

As is usually the case, no amplification was provided, nor was it necessary as the acoustics were fantastic. As I ate a bit of each of the 14 dishes (all of which were delicious) and I soaked up the atmosphere that made an evening of Fado. Foi para estas coisas que vim a Lisboa.

Fadista Matilde Cid, a petite brunette sang with dynamic force and passion. Ana Maceda concluded the evening’s events with a buoyant, upbeat song that had everyone singing along - this harks back to the origins of Fado being very much a people’s music that identifies everyone as a part of Comunidade.

Of course, I want to highlight my friend, the wonderfully talented, Margarida Arcanjo. It was great to have heard her in the classroom at NOVA but even better was in the setting of a real Fado club. Words, of course, can never truly do justice to describing music or to a performer. Best is to hear for yourself. So, do yourself a favor and listen to her album “12”. Otherwise, the next time you find yourself in Lisboa make sure you get to Associação do Fado Casto.

Fado, Pt 2 . . .

This story got its spark during July 2024 when only two weeks after moving to Lisbon I was deeply immersed in my intensive Portuguese Language class at Novo Universidade. Extracurricular cultural events were part of the syllabus and of particular interest was an afternoon presentation on the history of Fado music including some performances. However, this event was listed for Level B1 and above. I was in A2 (and should have been in A1!)

Now, as I have previously confessed: I love Fado! Though the level I had been admitted to was astronomically above my pay grade, I . . . well, let’s say I invited myself. Happily no one objected. Quite the opposite. Joana Teixeira, the organizing staff member for these events, had done due diligence and so “you know who” was quickly drafted into handling the photo documentation. (If only I had known I would’ve brought my real camera and as such these images were all done with my iPhone. At any rate, my pants have now dusted the floor of yet another event space, this time internationally so!)

 A guitarra portoguesa de assinatura da Luis Ribeiro

The history presentation was accompanied by slides and old film clips. I didn’t understand it all but, still, I took in further insights that added to what I already knew. As for the performance section, well, music is its own language and one I easily relate to.

For those not in the know, Fado is a genre that originated in the streets of 19th Century Lisboa. Not unlike the American Blues, it is a confessional style of music, usually melancholic, that sprung from the troubles of the poor and dispossessed. It moved from the crowded, narrow streets of Lisboa’s Alfama section to that area’s brothels before its popularity saw it spring onto legitimate stages and onto worldwide recognition.

As a folk oriented genre, its purest form it is spare, unembellished and unamplified, featuring a solo singer, a Fadist or Fadista, and two sometimes three guitars. One of those guitars is unique12-string instrument to Portugal and thus called the Guitarra Portoguesa. It is constructed with a slim neck which demands a talented musician and its distinctive sound, that usually acts in response to the singer, is one that perfectly accompanies this genre filled with beautiful melodies reflecting sadness, loss and despair. It is fair to note, though, that Fado is not ALWAYS sad and sometimes engages the audience with songs of joyful togetherness encouraging singalong.

The examples performed by a classic trio of artists were outstanding. The fadista was the talented and beautiful Margarida Arcanjo, accompanied by Luís Ribeiro, guitar Portoguesa guitarra (who had played with the legendary Amalia Rodriguez) and João Nunes on fado guitar.

Sr. Ribeiro also designs & builds his own Guitar Portuguese’s and I can attest the one I saw stunned from the moment he removed it from its case.

At any rate, this experience was a real in-depth glance at this music that has intrigued me for so long. Subsequently, it also led to a full evening of performances and delicious food that I would never have encountered otherwise. But that’s for another post. In the meantime, there are two short vids below which I recorded to give you a flavor.

Entretanto, em Lisboa . . . Fado pt 1

Margarida at Associaçao de Fado Cato

Meanwhile, in Lisbon . . .

Disclaimer: I love Fado! This story is a little recap.

From that moment in the 80s when I was still in the advertising music game and long before Lisbon was even a gleam in my eye I followed the lead of an article that introduced me to the music of Amalia Rodriguez. I bought a CD and from that moment I was hooked.

It’s a genre that originated in the streets of Lisboa in the 19th Century. Not unlike the American Blues, it is a music that sprung from the troubles of the poor and dispossessed. It moved from the streets of the Alfama area of Lisbon to the brothels of that area and onto legitimate venues before gradually gaining popularity throughout all of Portugal and beyond. Amalia herself was a street urchin who someone heard singing. From there she went to touring all of the major concert halls of the world and is considered a national icon.

Fado, traditionally, is spare and unembellished, featuring a solo singer, a Fadist or Fadista, and usually two guitars. One of those guitars is the Guitarra Portoguesa, a fantastic 12-string instrument that usually acts in response to the singer with the guitarist often taking a solo. Above all, the music is filled with passion and it is beautifully melodic.

On my first trip to Lisboa in the Fall of 2021, my first mission was to get to Alfama. In one week there were two totally random choices for dinner, one inside a nice restaurant and the other in an open-air cafe on a small but busy winding street, choices based solely on where I could hear Fado. Both evenings were entirely magical, the outdoor evening ending with the remaining diners all huddling in the rain under the umbrella tables continuing to enjoy the merriment.

Be sure to keep an eye out for Part 2!

Greetings from Lisbon

I have been quiet lately as I have been...busy.

As a result: O sonho se tornou real.

In 2016, I felt it was time for a new adventure.

In the Spring of 2021 a light bulb switched on and in September of that year I had a dream. By December I had put the wheels in motion.

Not all pieces of the puzzle fell into place as I had hope. Yet everything happened according to schedule.

As of June 14, Princess Ishii Kitty Kat (the Formerly Feral) of Montauk and I can officially send out "Greetings from Lisbon."

We are here. Living in Lisbon

#montaukphotographer #lisboaphotographer #travelphotooftheday #lisbonportugal

TRANSLUCENCE…

(Not To Be Confused with Transparency)

When I was a young person first attracted to photography, my early heroes were Henri Cartier-Bresson and Ansel Adams. Cartier-Bresson for his images of sublime composition and beauty created in the spontaneous blink of an eye with his 35mm camera that remain beyond compare. Adams for his studied artful work in nature created with an enormous 8x10 camera and then masterfully rendered in the lab via his exacting printing techniques.

At some point, I cannot remember exactly when, what caught my eye was work by a photographer named Duane Michals. His approach to the medium was not about spontaneously recording life or about crafted technique. In fact, on the surface, his imagery is very simply and straightforwardly executed. Yet Michals stood out for a very different approach. He concentrated on inner narrative, dream, and an off-balance aesthetic. His was an imaginary, created world based on ideas. And, as such, he also introduced an element that, as far as I know, was quite unique: not only did he compose multiple-image sequences but he wrote shorts scripts in the margins that amplified even as they contextualized the images.

I was always so fascinated by this approach. I never forgot it.

As time and technology have marched inexorably on, the very nature of photography and the type of photographers which originally drew me to it have entirely evaporated. For starters, everyone is now a photographer. As that became so, I began to get bored with the medium. It wasn’t that there weren’t incredibly brilliant images being ‘made’. But digitalization and the sheer quantity of images resulted in everything displaying a sense of sameness. No doubt, another factor is that the people commissioning, editing, retouching and ‘directing’ images were motivated more by commercial interests.

Inevitably, there came a time when I had to wonder how was I to distinguish my work. How could I individually express who I am and what I wanted to communicate with “photography” having become so inadequate? Fortunately, as is said: when one door closes another opens. It is the impact of Duane Michals approach along with other modern masters such as Robert Rauschenberg, Ed Ruscha and even Andy Warhol, who all frequently incorporated photographic imagery into their work, that provided me with inspiration. Their work shown a light on a new/old path to pursue that reinvigorated my interest and passion. It led me to venture into the realm of mixed-media. None of this is to say that “straight” or traditional photography doesn’t still hold a place in my world - it does. Yet there is now another avenue wherein an image I may create becomes “just the beginning”. What I particularly enjoy about this is that the elements of texture and space are brought back into the equation. This makes the possibilities for exhibition and the aura of “one of a kind” appealing again. Yes, online images are wonderful but there is nothing like seeing objects in real time and in real space to get a sense of an artist’s actual individuality and presence, the aura, sharing the space with you.

So, yes, time for some of my work to venture again out into the real world. If you or someone you know have ideas about appropriate gallery spaces please let me know! I’m on the hunt. And thanks again to Duane Michals for showing me a different way to see and think about photography. Standing on the shoulders of Giants.

Coda 1: Coincidentally, after titling this piece I came across a fascinating article on Michals in ArtForum entitled “The Self as Apparition”.

Coda 2: I had the pleasure of meeting Duane years ago when he was acknowledged into the Hall of Fame of the Art Directors Club. He was kind enough to sign my copy of his book “The Portraits of Duane Michals” that I’d brought along. His signature was how I learned of his wonderful sense of humor.

Coda 3: This is a link to my favorite Michals image - a photo of bittersweet simplicity that cuts through the heart. It’s entitled “This Photography Is My Proof”

Used Flag SOLD!

"This Flag’s In Tatters. Shattered.”

I am very happy to announce another print sale. The image is “This Flag’s In Tatters” and a 20x20 limited edition print was purchased by art curator Christine Carrier for the personal collection of hers & Manuel A. Mendez NYC/FL. Christine had noticed my post of the piece on social media and appreciated its summation of the current social atmosphere.

It’s a good time to include this reminder: if you happen to see any of my images here and think they would make a nice gift for someone, or perhaps even yourself, please do not hesitate to contact me. Since the possible iterations of sizes and styles are too numerous to list I do not have an online store. Besides that I always prefer discussing the available options directlywith the awareness that practically anything is possible. As a perfect “for instance,” Christine Carrier and I communicated several times with visual samples before arriving at just the right size for matting/framing/etc. So, please, drop me a message and onward we can go to putting my artwork on your walls. Already another sales is in the works even as I type so “stay tuned”

TIME SHARE SOLD!

“Time Spent On the Beach (Montauk)”

Yes, Happy Holiday News! I have word from reliable sources that someone just purchased a gift for their significant other so that said special person could open a nice Christmas present under their tree. The gift is meant to serve as a reminder of the couple’s “Time Spent On the Beach (in Montauk)”.

Thanx to Chris Lucore and the Lucore Gallery in Montauk for the Holiday Show opportunity. And to the Happy New Owner: “Enjoy!”

FYI, if you happen to see any of my images here on my site or in a social media post that makes you think it would make a nice gift for someone, or perhaps even yourself, please do not hesitate to contact me. As the possible iterations of sizes and styles are too numerous to list I do not have an online store. Besides, I always prefer the fun of discussing the options directly. These days, anything is possible. In this instance "Time Spent" is an 8-ply matted 16x16" print in a 21x21" glossy white wood frame. Please drop me a message so that onward we can go to putting my artwork on your walls. Two other sales are in the works from this basis even as I type so “stay tuned”

Then & the Now

Then: “Sag Harbor Cinema 1999” - Hasselblad - Fujichrome

Throughout its very short history, Photography has passed through tremendous changes. Even in my own journey within the medium there have been constant shifts, not only with technique and equipment but also style and approach. Yet as everything changes I can be confronted with a surprising truth: (certain) things stay the same. I cannot say that this lesson is either comforting or alarming. Perhaps both. As always, a picture, or in this case two, can stand in for a thousand words.

The first image is one of my ‘vintage’ favorites. This was accomplished when I made two shifts: 1) I moved back from strictly infra-red black&white to color; and b) to get really serious I switched from 35mm to the medium format of my Hasselblad 500c/m in the late 1990s. A group of these efforts was made throughout the Hamptons as that was where, after a hiatus, I had returned to spend the summers.

The Sag Harbor Cinema was not only an icon of the Hamptons but as an ardent film student & goer in my college days it represented the classic era of American movie houses. It did not have the usual marquee but that big neon sign could not be missed.

Early on I was drawn to the drama of the post-sunset color spectrum. In the Hamptons that usually meant working in late Sprint or late Fall. The long exposures required schlepping a heavy-duty tripod to handle the extra weight of the Hassy. There was a lot of anxiety but when the film finally came back from the lab the results were exhilarating.

In the decades since, much has changed. While I still have my Hasselblad it has been given retired statesman status. Digital now rules the day if only because of the expediency that having become a professional photographer has required. But beyond that, my own tastes actually prefer the speed, agility and flexibility that digital cameras offer. Once Canon offered their 5Dsr camera that provides a 50megapixel+ image I knew I had a piece of equipment that delivered an abundance of favorable options.

There was, however, one more dramatic change: the beloved Sag Harbor Cinema had been almost completely destroyed a few years ago by a devastating fire. Major landmark that it had been, many hearts were broken. It was awhile before I could even bring myself to go by. Ironically, the one remaining feature was the front exterior — but that neon sign had been irreparably damaged. That fire in the theatre, though, sparked a fire in the heart of the great artist, April Gornik, who now lives in Sag Harbor. She organized a fund-raising committee determined to resurrect the fallen symbol of the Sag Harbor Cinema. Almost miraculously, an auspicious revelation was revealed: it was discovered that a duplicate sign that had been long forgotten actually existed in a warehouse somewhere and it was in perfect condition. And so the theatre was brought back to life from the ashes and is now the same but even better with modern technological improvements available. Additionally, everyone realized what a gem of community gathering had been saved and it is appreciated more than ever.

As it happened, this Fall, I was back full-time in Montauk after almost an entire year away. The skies were lighting up later than usual (October-November as opposed to previously mostly being September-October) and a feeling kicked in. April Gornick and her husband, Eric Fischl used their momentum from the restoration and went on to renovate an old church just a block from the Cinema into an full-on, open space art haven called, appropriately, The Church. They host regular events such as Knowledge Fridays with guest speakers and various presentations. I attended one in early December. My camera gear was in the car. As I had hoped from the weather report, during the event a slight shower had dampened the streets. It provided the perfect ambience as I grabbed the gear and headed down to ‘the spot.’ I chose not to review the older image which was stored on my phone. I was curious to see if I would be drawn naturally to the same spot. I was very close. I placed the tripod where I wanted, carefully framed the image to include the street lamp. I waited for passing traffic. Yet . . .

There was one more major change. With the proliferation of digital cameras especially with regard to cellphone cams, any composition and click of the shutter can quickly seem less than the unique event it was when I first became interested in the medium. My personal quest for quite some time now has been to find ways to bring back that sense of “this is what I see” individuality. Then this past month I literally stumbled onto one new solution and I began including myself within the frame.

So, yes, this second image is the then and the now. This is what I Witness.

Now: “This Is What I See: Sag Harbor Cinema" 2023” Canon 5Dsr

Fate of the Golden Boy

Voyager Phaeton - Panel

from the Voyager Myths:

Voyager Phaeton - the Father’s wish granted; the Father’s fear confirmed: the fatally injured son alongside the crash site of his chariot.

(production notes for those interested - archival inket print, torn metal foil [gold and black] mounted on wood panel)

The 5th of July

As seen in Montauk on the 5th of July

Look at this:
This flag’s in tatters
It’s been shattered
Splattered all over by Mr 5th Avenue
This place, it’s in tatters
Shattered
shh-doo-bee

#montaukphotographer #expandthecourt #scotusforsale

5w

New Skin . . . . . (gone camo-style)

I’ve been busy lately on many secret missions wherein I had to be completely incognito. As such, my constant companeros needed to play along & to be #camerasindisguise. I’m certain that no one noticed nor realized what I was up to.

Tick Tock . . . . . Time Out on the Beach

. . . & the Weight Goes On

from Tales of the Voyager Myths:

Voyager Atlas - the weight goes on.

(production notes for those interested - inket print, eletrical tape, ink, torn metal, acrylic spray paint)

Linda May Han Oh

Linda May Han Oh at Southampton Arts Center 2023

Immediately after my photo exhibition & reception @southamptonartscenter came a real treat: listening & photographing the transcendent performance of the fabulous musician @lindamayhanoh who performed with the @fabianalmazan quartet .

See Hot Sax!

“Hey Kids, let’s put on a Show!” Please put this date on your calendar and come on down to the awesomely awesome Southampton Arts Center on Saturday, April 22 right in downtown Southampton, NY. It’s all part of the Hamptons Jazz Fest (for which I, every so humbly, am the official photographer) and the show reception will be followed by, what else?! Great music via Cuban/American Fabian Almazan and his quintet. As one might suspect, my show will be a collection of the work over the past year at the Festival — 30 images of hot jazz stars and ambience (Wynton Marsalis, the Jazz at Lincoln Center Orchestra, Randy Brecker, Bakithi Kumalo, and more!) And, YES, to keep the groove goin’ you can purchase the framed images and take them home with you!

Remembering Dan Wieden

It was not just an honor and privilege but an incredible inspiration in the several occasions where I had the opportunity to photograph Dan Wieden. His sense of humour was uplifting, his graciousness was grounding, and his belief in the power and the glory of creativity was and always will be a high water mark. Grateful for having shared time in this sphere with he and his late partner David Kennedy.

Dan Wieden

Lisboa - amarelo e azul

Como visto nas ruas de Lisboa

Bonde vinte e oito + lambreta em amarelo sob um ceo azul.

Minha cidade dos sonhos…

Lisboa å Noite

Among the many enticing characteristics of Lisboa are the sensuous curves and undulating hills. A feast for the eyes. Roaming along the cobblestoned streets at night is like wandering through a dreamscape.

Last Year in . . .

LizBoa In Marienbad

The Sunday Post:
Last night, El Somnambulisto returned.
Suddenly it was
LizBoa Year in Marienbad.
Or am I getting my places confused?
It's so frustrating when I wake up
and the answers disappear
like vapor
on a windy day.

Ohlos de Lisboa

Olhos de Lisboa

The Sandman, probably jet-lagged, arrived late last night. Maybe that's why I dreamt I was in the time zone of Lisboa and I saw a woman from the past staring into the windows of the state of the future of the state . . .
It was #surreal.
But then I woke up.
And I was in Lisboa.

This post goes out to my great and longtime friend Donna Donato, Parisian expat photographer extraordinaire whose work of reflections & shadows on Instagram as @parisdeed is an inventive & imaginative set of imagery. I was thinking of D when this image came to me.