“Street photography” has long been the province of documentary photographers, exploding in popularity with the advent of small, handheld cameras in the early 1900’s. In this century, the image revolution belongs to anyone wielding a smart phone, elevating those with actual cameras to “endangered” status. And they are a rare breed indeed, injecting energy and unique viewpoints into the way we see our everyday world. For the real deal, you can see a selection of Michael Hintlian’s “Recent Work” in the Garner Center at New England School of Photography (where he chairs the Documentary Program) in Boston’s Kenmore Square through April 22, 2016.
“Wellington Station, Medford, MA, 2015” by Michael Hintlian (courtesy of the artist).
Hintlian embraces a venerable creed, at all times wearing at least one 35mm film camera, which he shoots full-frame and focused from edge to edge. His prints on view now are all B&W, exposed and printed with a crisp, full tonal range on an old-fashioned, come hither paper size of 11”x14”. This is the way street photography used to be practiced in its heyday, by illustrious stalwarts from Henri Cartier-Bresson in the early 1900’s, to the photographers of New York’s Photo League during the Great Depression to Garry Winogrand in the freewheeling 1960’s and ‘70’s to the recently deceased Mary Ellen Mark. What a legacy! It is no wonder that Hintlian and his cohort find this lifestyle intoxicating.
“Fountains of Bellagio, Las Vegas, NV, 2011” by Michael Hintlian (courtesy of the artist).
So, what is that secret sauce for persistently new and fascinating photographs of the things we see and ignore around us each day? Winning recipes seem to combine a voracious, inquisitive mind with the self-discipline to constantly practice, practice practice. Mix in a sixth sense for impending serendipity and hitting the shutter at precisely the right moment and the result is remarkable revelations. This intuitive duo of eye-hand coordination is what Hintlian refers to as “getting out of your own way”. Easy to say, hard to do and a rare treat to see.
“Las Vegas Boulevard, Las Vegas, NV, 2015” by Michael Hintlian (courtesy of the artist).
Hintlian’s “angle” is just that, his command of diagonal components in a tightly crafted frame, guiding the viewer’s eye to the precise area in each image that raises the most questions. Often, the mystery lies beyond the forefront of the frame. With everything in focus, Hintlian’s introduction of angled elements into the dominant horizontals and verticals of modern cities is his invigorating signature. Not only does it help the viewer see what Hintlian sees, but it creates a dynamism that implies movement and confers immediacy. And that’s just his foundation.
“Pershing Square, Downtown Los Angeles, CA, 2014” by Michael Hintlian (courtesy of the artist).
Hintlian’s empathetic energy famously permeates his photographs of Boston’s “Big Dig” workers in “Digging” (Commonwealth Editions, 2004), an enduring project that was re-exhibited last year in Cambridge. But in this show, Hintlian brings his talents to a completely different time and place. Especially when viewed together, his photographs take the viewer on a lively ride through iconic cities like Hollywood and Las Vegas. But the real romance is in each individual image. Both the intimate print size and intriguing subject matter – us, in some quintessential venues – invite lingering examination. Then, rewarding jewels like surprising gestures, compositional delights and nuanced tonalities are revealed, Hintlian’s gifts to those who really look.
For directions, hours and more information about this show, go to: http://www.nesop.edu/events/the-garner-center/michael-hintlian/
To read my review of Hintlian’s “Digging “ exhibit, go to: https://whatwillyouremember.com/big-dig-photographs-by-michael-hintlian-at-cambridge-seven-associates/
Feature Image: “Hollywood Boulevard, Hollywood, CA, 2014” (detail) by Michael Hintlian (courtesy of the artist).
“Forest Lawn Cemetery, Glendale, CA, 2015” by Michael Hintlian (courtesy of the artist).
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