theroomdowntown

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#throwback #Repost @wideshut ・・・ ✧Model: @reyneenpedro ✧Collab w/ @iammrwanderlust #studioshoot #studiorental #photostudio #photoeveryday #photographystudio #losangelesart #laartsdistrict #studiophotography #studio #downtownlosangeles #dtla www.theroomdowntown.com — view on Instagram https://ift.tt/3csUDUG

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#Repost @diego_viewz ・・・ Beautiful colors at the studio from Diego. #studioshoot #studiorental #studiophotography #losangelesphotography #laart #losangelesphotographer #photographystudio #photostudio #photoeveryday #losangelesphoto #photographers — view on Instagram https://ift.tt/39UVVFH

[theroomdowntown]

#Repost @shutup_tony ・・・ Great to see some more beautiful work produced at the studio! #photostudio #photographystudio #photoshotsession #studioshoot #studiorental #studiophotography #laphotostudio #lamodel #covergirl #modelagency #fashionphotograpger #commercialphotography — view on Instagram https://ift.tt/32boOLm

[theroomdowntown]

#Repost @tyelltakes killin' it at the studio. HIRE HER. ・・・ Model @morgangardiner_ HMU @sh_tomamakeup RT @leslie.push . . . . #photography #photostudio #laphotostudio #dtla #fashionphotography #laartsdistrict #studiophotograohy #studiophotography #studioshoot #photographystudio #lamodels #laphotography #losangelesart #losangelesphotography — view on Instagram https://ift.tt/35GLnaE

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#Repost @daisijo ・・・ #BTS 📸 . . . . . D A I S I #lifeofaworkingmodel #mmgny #mmgnymodel #LAFW #NYFW #modellife #modelwork #modelfitness #modellook #modelmayhem #modelagency #modellifestyle #photoshootfresh #photoshotsession #runwaymodel #fashionmagazine #modelsstatus #modelcasting #modelkit #modelbehavior #published #fashionmodel #daisijo #daisipollard #mmgmodels #modelonduty #internationalmodel — view on Instagram https://ift.tt/38Ycz7O

[theroomdowntown]

Cold outside got us feelin' dark and delicate. #Repost @iamedwin_g ・・・ Delicate and wild ... . . . Model: @reyneenpedro Collab with @wideshut . . . . . #portraits#bnwportrait#bangor#bnwmood#rammers#folkportraits#trappingtones#trapping_tones#thecreatorclass#portrait_shot#portraitgames#dopeshots#dopeshotz#justgoshoot#killeverygram#leagueoflenses#createexplore#vsco#visualsoflife#visualsgang#visualcollective#folksouls#portraitphotography#portrait_ig#portrait_hub#portraits_universe #musicianphotography #portraitsociety#blackandwhitephotography — view on Instagram https://ift.tt/35WlGDz

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#greenscreen #downtownlosangeles #dtlaartsdistrict #photostudio #filmstudio #vfx #losangelesart #losangelesphotography #losangelesphotography #losangelesphotographer #photographystudio — view on Instagram https://ift.tt/2QUbV4p

[theroomdowntown]

Long Hair Don't Care w/ @kendallsinclair being joy personified. #portrait #portraitstudio #photostudio #photoeveryday #photographystudio #laphotostudio #laportraits #labeautyphotographer #fashion #laphotography #filmstudio — view on Instagram https://ift.tt/2p4CZT9

[theroomdowntown]

#regram from a talented client of the studio! #portrait #portraiture #laphotography #losangeles #photostudio #photographystudio #photography #lensculture #headshot #laartsdistrict #losangelesart — view on Instagram https://ift.tt/2W2SPKg

[theroomdowntown]

#Repost @rip.watr ・・・ Said I just want to give them something different.. She jus said give them you 🤦🏽‍♀️💔💔🖤 — view on Instagram https://ift.tt/2nlzxCe

[theroomdowntown]

This Is What Pride Looks Like Around The World In 2019

This Is What Pride Looks Like Around The World In 2019 People around the world took to the streets in unity to celebrate love, resistance and Pride.

New York City

Timothy Clary / AFP / Getty Images

Kena Betancur / Getty Images

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Angela Weiss / AFP / Getty Images

Durban, South Africa

Rajesh Jantilal / AFP / Getty Images

Milan

Miguel Medina / AFP / Getty Images

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Toronto

Richard Lautens / Getty Images

Mexico City

Alfredo Estrella / AFP / Getty Images

Dublin

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Other People’s Photographs

Other People’s Photographs

Over the years I’ve accumulated thousands of other people’s photographs. I began buying them in the early eighties, at flea markets and in junk shops. At first, I rarely paid more than a nickel or a dime. I was drawn to those that contained some aesthetic quality or bit of sociohistorical information, or ideally both at once. Often the selection was made rapidly, purely by intuition; only later would I be able to name the qualities that had caught my eye. The pictures were orphans, in several senses. Anonymous photographs had little commercial value. They were considered detritus, as inert as the grocery lists or medical records of the past. And they had all been released into the twilight marketplace by the death of their keepers and the apathy or absence of their heirs. That release often obliterated their context. If you bought two or more pictures out of the same box, it might not be evident that they had a common origin. You might not even recognize that the person in this photo was also the person in that photo, many years later. Found photographs are memories that have gone feral.

Imagine finding, in a rusted tin box stuffed with random and disconnected images (snapshots, postcards, funeral ex-votos, chocolate-bar premiums), the picture at the top of the page: a photobooth image of a European intellectual, to all appearances. But how hasty a supposition is this? We think he’s an intellectual because of the glasses, European because of the facial features, the mouth in particular. But he might be a bank clerk, perhaps an immigrant from northern Europe (he is blond), now living in Bayonne, New Jersey, where he takes pains to keep his heavy wool suit from the moths. Now imagine finding, in the same box, the photo immediately above: an American GI striding purposefully down the street of what is certainly a European city, to judge by the paving stones and the wicker café chairs. Would it occur to you that the pictures might show the same person, and, furthermore, could have been taken only three or four years apart? They are both photographs of my father, and neither is what it appears to be. The top picture, taken circa 1942, was in fact a fake, concocted to fit false identity papers. The glasses are plain glass, the hair is dyed, and he borrowed the maiden name of his Luxembourgeois grandmother to become “Philippe Werner,” in a successful effort to prevent his being deported to a forced-labor camp. Three or so years later, after the Allies crossed the Rhine, he joined the Belgian army. That force having been destroyed by the Germans in 1940, it had no equipment, no matériel, no uniforms, and so it had to borrow everything from the Americans. Half a century later, a copy of the photo, perhaps obtained from the photographer, was featured in a local shop-window homage to Our American Liberators.

    On the basis of the first two images, would you recognize this street urchin, his pants so cheap that you can delineate every knucklebone through the pockets? He seems to be wearing the same jacket as in the first picture, but you might not notice. Judging from his expression, his clothes, and the trash-strewn condition of the small park where he stands, the photograph was probably taken not long after the Liberation, which is to say at some point between the other two photos. There is a theme that runs through those snapshots from 1944 and 1945: everyone is beautiful, starved, ragged, and ecstatic. But without supplemental information, would you guess the time and the circumstances? The pictures seldom carry any helpful inscriptions on their reverse side. I barely know the stories myself. My father and mother are long dead, as are all aunts and uncles; I have no siblings or first cousins. My father told me selected stories from his past, but they tended to be the ones that could be neatly packaged as anecdotes, and he did not dwell on the war years. I always thought he had secrets, and imagined he would at length reveal them, perhaps on his deathbed; such was not to be.

    He again seems a different person in this picture, striding along the streets of the same city, this time with my mother during their courtship a few years later, both looking cosmopolitan in their matching blazers and pocket squares. (They both still live with their parents and work at entry-level jobs.) Like the GI photo, it was taken by a street photographer, and that, had you come across it in that rusted tin box, might be all you would register. Until about sixty years ago, street photographers could be found in every city, hanging around the center, sizing up prospects, snapping their picture and handing them a card with the address of the studio where a print could be purchased the next day. Like photobooth photos, the prints made by street photographers have an equalizing formal aspect; arrayed in rows, they could be stills from a single motion picture, no matter where they were taken.

If I look at my family photos hard enough I start to see them as types, distinguishable from the great mass of their anonymous kin only by a few threads of oral tradition, of which I am the custodian. They are nothing much as pictures, really, barely worth a pause while digging through the crate for the outliers and the beautiful accidents. If they were released from my hands, they would merge into the photographic sediment—the endless numbers of dull family snapshots, inert group scenes, pro forma portraits that flow sluggishly through the low-level secondary markets of the world. Each of those is a marker, the living trace of a human who may otherwise survive only as a census entry, or not even that. We cannot discern their accompanying stories, and we can’t do anything for them. They are specters. They live in the photographic sediment as in a bardo, suspended within the world, still visible but very gradually being absorbed into the dirt that constitutes our past.

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[theroomdowntown]

#Repost @megantoldme ・・・ Model: @_raeraeee #photostudio #laphotostudio #laphotography #photographystudio #laart — view on Instagram http://bit.ly/2WMP4YK

[theroomdowntown]

#Repost from @king.loie ・・・ ghostin - - - 📸 @the.room.downtown Makeup by @chrisillest_ #portrait #portraiture #photostudio #studiophotography #laphotographer — view on Instagram http://bit.ly/2WbPjQ2

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Violent Innocence: Photographing New York City’s Brooklyn Gangs In 1959

Violent Innocence: Photographing New York City’s Brooklyn Gangs In 1959 In 1959 photographer Bruce Davidson spent several months with NYC gang The Jokers.

“At first I went with a Youth Board worker to take pictures of their wounds from a gang war in front of their candy store hang-out,” recalls Bruce Davidson of his time with New York City’s street gang The Jokers in 1959.  ��Later they let me go alone with them to Coney Island at night where they would lie under the boardwalk drinking beer. In the morning they would dance down the boardwalk together. A girl stopped to comb her hair at the cigarette-machine mirror. Then they took a long bus ride back to where they lived. In 1959, they were about seventeen and I was twenty-five.”

That girl was Cathy. Former The Jokers’ gang member Bengie notes in Davidson’s seminal Brooklyn Gang: “Cathy always was there, but outside … Then, some years ago, she put a shotgun in her mouth and blew her head off… It was very sad to see her die. It was very sad to see her because she was so sad. She was always sad, always fixing her hair.”

Brooklyn Gang was published in Esquire magazine in 1959, but it did not appear in book form  until 1998.

    Bruce recalled his time with the gang in an 2016 interview with David S. Spivak:

“Those kids, at that time, you see, were actually abandoned by everybody, the church, the community, their families. Most of them were really poor. They weren’t living on the street, but they were living in dysfunctional homes. It’s the same thing. Anyway, they were kids and the reason that body of work has survived is that it’s about emotion. That kind of mood and tension and sexual vitality, that’s what those pictures were really about. They weren’t about war. I mean, you can’t compare those kids to the kids today who have machine guns. So there is an innocence in the photographs because it reflected the kids’ innocence, but that innocence could erupt into violence.”

  “In time they allowed me to witness their fear, depression and anger. I soon realised that I, too, was feeling their pain. In staying close to them, I uncovered my own feelings of failure, frustration and rage.”

    The gang was “violent, sexual but full of life”.

    “I think New York is probably the most important and the most alive city in the world. It’s the most diverse. It’s the most difficult. It’s the most challenging. I have found that over the years I have been able to enter worlds within worlds in the city, beginning with the Circus series, then the Brooklyn Gang, and later the Subway and Central Park, and other entities. I entered worlds within worlds and they became sacred places for me. I no longer entered a shul; I entered the sacred space of people’s lives.”

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[theroomdowntown]

Awesome shoot with @dariarottenberk and @tristanstarchild makin' funky sexy alien murder a good time #losangeles #photostudio #photography #dtla #musicvideo #fashionphotography #editorial — view on Instagram http://bit.ly/2XZwTzg

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#Repost by the incredible @black.frames , check out his website on his profile! ・・・ #studiophotography #laphotostudio #losangeles #photostudio #portraiture #portrait — view on Instagram http://bit.ly/2GLMwVe