iSad

I'm not sure if there is any category of people who were more affected by Steve Jobs' innovations than photographers and the photography minded. Everything Jobs masterminded at Apple was elegant and visual. Everything Apple innovated made life easier and better for the viewing, management, and simple pleasure of working with and looking at photographs. To say he will be greatly missed is an understatement.

But in many ways, Jobs will not be gone from Apple. He consistently put the right people in to the right positions so that his creativity, insight, marketing genius, and his ability to “Think Different” can continue. Jobs put it best himself:

“My model for business is The Beatles: They were four guys that kept each other’s negative tendencies in check; they balanced each other. And the total was greater than the sum of the parts. Great things in business are not done by one person, they are done by a team of people.”

During his life, I always thought of Jobs as arrogant. Now and as we read more and more about his personal life and thoughts, and ponder his remarkable achievements, I think he was modest.

Tokyo ctd.

Hisaji Hara

For me there's nothing quite like Tokyo. I love the way that form follows function in both the design sense and also in the sense of the formality and functionality of the place. I love the Tokyo subway. The museums. The stores. The enthusiasm and politeness towards strangers, and most of all the people I had the pleasure of meeting or dealing with. In three trips I don't think I've ever had a bad or rude experience.

To me Tokyo is a city of innovation. Everything seems to work and there are always new ideas of how do things. Cabs are plentiful. The airport buses are a model of efficiency. We all know about the toilets. Recently Tokyo introduced "Women Only" carriages on the subway so that women going to work didn't have to be hassled. Now why don't more places do that?

But back to photography. For my third Tokyo Photo fair, I tried to bring things that I thought would interest my hosts. A wall of work by 11 different western photographers new to art fairs. A Kate Moss selection. Sartorialist prints. Warhol polaroids. And a new Susan Derges piece. I'll show these later but for this post I'll concentrate on some of the many Japanese photographs that struck me as particularly good.

Above and below - the work of Hisaji Hara. A graphic designer and film-maker by background, over the last few years Hura has obsessively translated the work of the already obsessive painter Balthus into extraordinarily original photographs. As a concept, nothing could interest me less than copying painting but Hura's work has such a unique sensibility and the photographs have such a timeless feel that they are completely successful.

Hisaji Hara

Hisaji Hara

Ken Kitano

Ken Kitano's work has consistently dealt with time and layering. Here one of his sunrise to sunset pictures wherein he literally stands by his camera for a day as it captures the passage of time and light. This one is of Ground Zero at Hiroshima.

Ikko Narahara

Also new to me was the work of Ikko Narahara. This surreal but un-manipulated shot was credited by the British photographer Chris Shaw, whose work was being shown at the fair by The Tate, with inspiring him to be a photographer. More on Chris and his work later.

Anon. by way of Fiona Tam.

These anonymous photographs of Japanese schoolgirls were found at a flea market by artist Fiona Tan and became the basis of a complex video piece. But as a refection of pure Japanese visuals and culture I think they're stunning - a study of uniformity, diversity, and seriality.

Taiji Matsue

I remember liking Taiji Matsue's work two years ago. Matsue photographs from a great distance and then blows up telling details of seemingly random incidence into little squares. This was a nice installation.

Tokihiro Sato

Tokihiro Sato creates his pictures by opening the lens and moving around with a flashlight to create mysterious and magical effects. One of the ideas I heard in Tokyo (from Yoshiko Suzuki at the Tokyo Metropolitan Museum of Photography) was the idea of a post 9/11 - post 3/11 (the Japanese Tsunami) sensibility in art. This works for me in that way.

Yasuhiro Ishimoto

A Chicago picture by the great Japanese photographer Yasuhiro Ishimoto from when he was at The Art Institute. If you click into it you'll see it's a picture of cars in a parking garage. One of my favorite individual pictures in the show.

Rinko Kawauchi

Rinko Kawauchi

A section of the fair was given to photographs specifically of the after effects of 3/1. The always reliably mystical Rinko was photographing the devastation when a black and white pigeon appeared - flying away only to return again. To her they symbolized life and death, hope and despair, light and dark, Adam and Eve.

Mika Ninagawa at Tomio Koyama gallery

And last but certainly not least - a group of Mika Ninagawa photographs in a back room at Tomio Koyama gallery. I have been wanting to meet Ms. Ninagawa - one of (if not) Japan's most popular photographers - for quite a while. I love her super-saturated pop take on flowers and fish and whatever else crosses her lens. She's sort of Nan Goldin meets Andy Warhol but in a completely original form. This trip I finally got the chance to go to her studio and home and I am pleased to say that I will now be representing and showing her in the U.S..

Tokyo

After being diverted overnight to Hokkaido by Hurricane Roke, I arrived in Tokyo last night with 2 hours to hang 33 pictures in my booth at Tokyo Photo 2011! Thanks to some great help from my translator/assistants we made it, but there was not a second to check out the other booths, which I will make up for shortly.

In the meantime, I always enjoy my hotel views. This is clearly not so picturesque but looking out of my window in the Nagatacho district I feel like I'm already enveloped in a contemporary Japanese photograph.

Fashion Week

As Fashion Week in New York comes to a close - a great aerial shot of the backstage preparations from London's Daily Mail. Unfortunately the photograph is only credited to Getty Images so I can't give the resourceful photographer their due credit. Please write in if you know.

Save The Date - September 15

Gloria Swanson, 1924.

You're all invited to our opening show of the season. Thursday, 6 to 8 p.m..

The show features 80 iconic Edward Steichen 8x10 contact prints made by the renowned photographer George Tice who was Steichen's last printer. In addition to the Steichens we are showing 12 rarely seen George Tice photographs in our Print Room, and George - who is truly one of photography's living legends as well as an incredibly nice guy - will be there. More on George later.

Gary Cooper, 1928.

VOGUE Fashion. 1920s.

Gertrude Lawrence, 1928.

Charlie Chaplin, 1928.

9/12

I have mixed feelings about the proliferation of 9/11 images that have flooded the airwaves and print media these past few days. Nearly every story and image is powerful and moving but at a certain point you can begin to feel you're being used.

I was looking for a photograph that meant something more than re-visiting the past when Len Prince sent me this picture. It's an iPhone snap of a contact sheet that he had never tried to print or publish but ten years later the picture makes a lot of sense.

It was taken on 9/12/01 near Ground Zero and is of the back window of a smashed-up police car that had been blown on top of another car. Someone had scrawled the date in the dust of 9/11 as both a record and - I like to think - a hope. 9/11 as we know changed everything, but it's what we do with 9/12 that counts.

For a moment it seemed like 9/12 had brought about an amazing togetherness and spirit in this country, but it didn't take long to disintegrate and go awry. Let's try to make this 9/12 something better.

Irene

Of all the snaps I've taken, this one seems to provoke the most visceral response!

It was taken around noon on August 28th as Hurricane Irene hit the south shore of Long Island. It's the view from the living room of our house on The Great South Bay, and amazingly, the water stopped about 1/4 inch short of flooding the house. What you see in this picture is The Great South Bay, and then what little lawn we have between the house and the bay.

We were very lucky.