that I had been given as a high school graduation present.Ī few years later, at the School of Visual Arts, I was exposed to the cool art photographers of the day-Diane Arbus, Garry Winogrand, Duane Michaels, and Robert Frank. We all had to buy our own tungsten light, reflector and stand and were taught “Hollywood glamour lighting.” I started shooting portraits of my family and friends with the. I remember saying to myself, “This is what I am!” I was all in. His premise was that if a photograph does not reveal a deep psychological insight about its subject then it is not a successful portrait. Halsman told stories about his nuanced preparation and the seduction that went into making portraits of his famous subjects-from Marilyn Monroe to Einstein. It was just a single course, called ‘Psychological Portraiture.’ I was 19, and had no idea that there was such a thing as a portrait photographer. Not until I studied with the great French portrait photographer Philippe Halsman. As you were finding your own way, and as you became aware of photography as an art form, do you recall having a favorite photographer? I was focused more on art than photography. I wasn’t yet aware of photography as a medium, or as an art. I don’t think magazines were part of my world other than reading Seventeen magazine like all of the young girls. When you were young, did you enjoy looking at the photography in magazines?ĬF. By the time I was eight, I was on to my Instamatic. Looking back, it’s pretty funny that at that age I was already imposing my will on these very young subjects. So, I was given a Brownie Fiesta, and I remember posing my sister and friends, telling them where to stand and what to do. I must have asked for my own camera because picture taking was a dialogue that I wanted to be part of. My dad was a serious amateur photographer and I was a favorite subject. Did your parents give you this first camera?ĬF.
I asked for a camera when I was about five years old, and I don’t think that first camera ever left my hand. And a photographer, once I found out that there was such a thing. What did you want to be when you grew up?ĬF. I am completely enamored with her work and personality.” Her photos tell the story of her love for the people she digs and their surrounding environment and the company they keep. She is a creative artist who is forever changing.
“Carol is ‘Exhibit A’ of the people she photographs. This interview took place via telephone on April 29, 2019, and was hosted and produced by Jerry Jazz Musician editor/publisher Joe MaitaĪll images copyright Carol Friedman, used by permission of Carol Friedman the opportunity to visit, and to publish many of her photographs for your enjoyment. ….I am excited to present her work to readers on such an illustrious scale. Friedman agreed to participate in the following interview that includes conversations and stories about her childhood interest in photography, her entry into the world of photographing jazz musicians, her creative mentors, and, of course, the musicians themselves. ….Her lifelong work of distinction in the world of jazz photography is worthy of recognition. Now an independent photographer, designer and author, she is working on several book, music and film projects, including a film on the late jazz singer Abbey Lincoln. Friedman’s background in music includes positions at. Her poignant, often spontaneous work – a generous sampling of which is on display within and following the interview – includes the photographs of, for example, legends like Jimmy Heath, Ron Carter, Lena Horne, Chet Baker, Eubie Blake, Cecil Taylor, Nina Simone, Miles Davis, and Sarah Vaughan, and of contemporary artists like Sullivan Fortner, Chucho Valdes, Terence Blanchard, Terri Lyne Carrington, Wynton Marsalis, Dianne Reeves, Christian McBride, Lisa Fischer and Joey Alexander. ….During a career now spanning over three decades, the esteemed New York portrait photographer Carol Friedman’s iconic images have appeared on hundreds of album and CD covers.