on a table covered with a white tablecloth
demonstrate how darkening the scene alters
our reading of the shapes. Another set of
images of bunches of grapes show how shifting
her camera changed Letinsky’s composition.
The Polaroids are “part of the process,”
Letinsky says, which she doesn’t think should
be diminished in favor of “the big tomato,
the way we tend to think about the finished
piece as being the kind of grand overview.
[The Polaroids] are different things, but they
have value in and of themselves as well as
value that relates to that finished piece.”
In addition to revealing Letinsky’s
conceptual interests and her method for
creating images, the book also opens up
conversations about photography: about
pictures as physical objects, about the
advancement of photographic technology,
and about the fetishizing of the single image.
“Photography is a serialized instrument,”
she explains. “You have the before and the
after in several stages and so to choose ‘the
one [image]’ also speaks to certain ideas in
modernism about there being ‘one.’” This
attention to one image among many also
speaks to our values, she says. “We can talk
[also] about monotheism and capitalism and
monogamy and all of those kinds of things.”
Letinsky’s book also reflects her interest
“in this idea of the photograph as the past
and being about the aftermath of a narrative.”
Photographs are “a kind of container if you
will for what has transpired,” she explains,
whether or not you want to remember it.
“There’s a tension between those categories M o
Fashion, Beauty, Still Life...
Scott’s career has taken him from Santa Barbara to New York and beyond. He’s back
home in Omaha, seamlessly shooting both still and motion.
“I’ve used HMI lighting for twenty years. With the Joker, K5600 has pioneered the most
dependable and manageable source that enables me to shoot anywhere. I can select
lenses and attach a wide variety of light shapers. All on standard 120V power.”
–– Scott Drickey, Photographer & Director
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