Exhausted or relaxed, perhaps both, they are asleep inside the car, caught unawares by the photographer. Filtered grey light, grainy texture, reflections playing off the car windows: everything in the image is soft and tender
The images made by Harry Callahan in Aix-en-Provence makes up one of the rare cases where a master of American street photography in the 1950s is confronted with the decor of a small European village with its narrow streets and modest boutiques, keeping a certain distance from the inhabitants of the city. From the French Archives, he was able to create a cold and distanced poetry without any nostalgia. As for the nature studies, some were taken in the garden of the house where he was staying on the way to Sainte-Victoire Mountain, dear to Cézanne.
This summer Michael Wichita of AARP Bulletin asked me to work on a project looking at homelessness in America. The basis was for a section in the magazine called Databank USA that looks at issues in the US broken down by state. But, as always, Michael was looking beyond the narrow scope of the immediate assignment to find a compelling way to visually tell the story – one of the many reasons I love working with him.