The photographer chronicles the interstitial weirdness of the city and the people in it, who are often too caught up in the busy steam of existence to pause and reflect on their lives.
The photographer Daniel Arnold is eerily adept at capturing perfect moments in his pictures, although “perfect,” in his case, doesn’t mean glossy or unblemished. Arnold’s work often traffics in the quotidian and the flawed, the discordant and the mottled; to him, perfection means locating beauty in what might otherwise be overlooked. Like his forebears in the art of street photography, from Garry Winogrand to Joel Meyerowitz to Helen Levitt, Arnold trains his lens on people going about their lives in New York City. In “Pickpocket,” his first monograph, which was released earlier this month, we see many of these subjects, intent and determined on completing their private daily tasks: an old bald man, his creased head and neck captured from behind, while he walks down the street on a sunny day; a large Orthodox Jewish salesman, crouched in the too-small window of a jewelry store in order to clean it; a pillowy lipped, long-haired woman mid-phone call, a street stall piled high with hats just behind her.
Daniel Arnold takes photos that defy definition. While his practice of walking the streets for endless hours and shooting candid moments would place him squarely in the “street photography” camp, somehow he doesn’t fit in. There’s an eccentricity which ov
Daniel Arnold takes photos that defy definition. While his practice of walking the streets for endless hours and shooting candid moments would place him squarely in the “street photography” camp, somehow he doesn’t fit in. There’s an eccentricity which overlays his pictures’ earnestness, resulting in a halting power that threatens to be poetic but just as often veers into absurdity. Or maybe that’s just how I read them. If you read the many things that have been written about Daniel, you will see a lot of accusations that he’s somehow either a fake, or overly aggressive, or “random” in his aim. None of these things are true. Arnold is the rare kind of photographer who no one knows how to be: he has amassed a large audience who are not necessarily photography fans, per se. His work’s reach has extended beyond the ghetto of the “Photo World.”
Here, we unravel the new Leica M-D through the eyes of Nicholas La, Rui Palha, and Daniel Arnold. Below is the touching and compelling story of how these photographers explore Porto and find a new perspective for photography with the Leica M-D
Last week, we asked the photographer Daniel Arnold to ride several New York subway lines to the last stop, and to document these journeys for The New Yorker’s Instagram feed
Our newest Juxtapoz Editions release is Photography, a 32-page zine featuring some of the most influential names and talents in contemporary photograp…
Our newest Juxtapoz Editions release is Photography, a 32-page zine featuring some of the most influential names and talents in contemporary photographer. Starting with cover artist Roger Ballen, our Photography zine includes Mike Brodie, Alex Prager, Tim Barber, Swampy, Jennilee Marigomen, Bill Daniel, Tod Seelie, Daniel Arnold, Asger Carlsen, Austin McManus, Yumiko Utsu, Gregory Halpern, and Peter Sutherland
