In the entire history of Hollywood photography, no photographer has ever documented the craft of filmmaking the way David Strick has.
There have been many notable celebrity portraitists, from George Hurrell to Herb Ritts, who have captured the glamour of movie stars. There also have been many photojournalists, from Henri Cartier-Bresson to Douglas Kirkland, who have documented movie making. But no one has done it the way Strick has been doing it for the past 30 years or so.
Strick's images capture the often funny and sometimes poignant interplay between the reality of the filmmaking process and the fantasy of the movies themselves. These are the moments when the actuality of craft and creativity are transformed into what Strick calls Hollywood's "industrial magic."
"The end product of this process affects all of us so deeply, but no one ever really has paid much attention to the work itself," he notes.
Strick published his first collection of images in the 1987 book Our Hollywood, and for many years his work was seen regularly in Premiere magazine. Beginning this summer he became a contributor to the Los Angeles Times with a weekly feature called "David Strick's Hollywood Backlot" that can be seen both online and in the Thursday edition of the newspaper.
This publishing arrangement gives Strick a unique platform for his visual ideas and has reignited his career. He talked with American Photo recently about working in two media at once, as well as his singular vision of Hollywood.
There have been many notable celebrity portraitists, from George Hurrell to Herb Ritts, who have captured the glamour of movie stars. There also have been many photojournalists, from Henri Cartier-Bresson to Douglas Kirkland, who have documented movie making. But no one has done it the way Strick has been doing it for the past 30 years or so.
Strick's images capture the often funny and sometimes poignant interplay between the reality of the filmmaking process and the fantasy of the movies themselves. These are the moments when the actuality of craft and creativity are transformed into what Strick calls Hollywood's "industrial magic."
"The end product of this process affects all of us so deeply, but no one ever really has paid much attention to the work itself," he notes.
Strick published his first collection of images in the 1987 book Our Hollywood, and for many years his work was seen regularly in Premiere magazine. Beginning this summer he became a contributor to the Los Angeles Times with a weekly feature called "David Strick's Hollywood Backlot" that can be seen both online and in the Thursday edition of the newspaper.
This publishing arrangement gives Strick a unique platform for his visual ideas and has reignited his career. He talked with American Photo recently about working in two media at once, as well as his singular vision of Hollywood.
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