Showing posts with label Bob Dylan. Show all posts
Showing posts with label Bob Dylan. Show all posts

Monday, February 21, 2022

Listening with his camera: The late photographer Don Hunstein captured a golden age of music

 

Via the Daily Hampshire Gazette


black and white photograph of Don Hunstein with his camera
Portrait of the artist: Photographer Don Hunstein took many iconic shots of musicians from the late 1950s to the 1980s by putting them at ease. Image courtesy cdeVision

It’s arguably one of the most iconic album covers of all time, certainly in the folk and pop world: a young Bob Dylan, on the cusp of stardom, walks down a slushy street in Greenwich Village in New York City, hands in his pockets and shoulders hunched against the cold, as his girlfriend, Suze Rotolo, clings to his left arm.

That image, from the 1963 disc “The Freewheelin’ Bob Dylan,” came out of a session that Don Hunstein, a longtime director of photography for Columbia Records, had staged with Dylan in the singer’s nearby apartment, capturing the rising folk star as he played his acoustic guitar, sprawled in a beat-up armchair, and tried at one point to smoke and sing at the same time — another memorable shot

Those are just two of hundreds of impressive images that are now preserved on a website dedicated to Hunstein’s work, a site put together by Hunstein’s daughter, Tina Cornell, who lives in Florence with her family, and cdeVision, a Holyoke web studio specializing in advertising, website design and more.

Along with taking many shots of Dylan in his early career, Hunstein, who died in 2017, photographed a huge array of stars on Columbia’s roster from the late 1950s into the 1980s: Billie Holiday, Aretha Franklin, Miles Davis, Dave Brubeck, Barbara Streisand, Simon and Garfunkel, Johnny Cash, Janis Joplin, Billy Joel.

The photographer also shot hundreds of album covers, including Loretta Lynn’s memorable “Coal Miner’s Daughter” from 1970, as well as the records of classical musicians including pianist Glenn Gould.

Hunstein, born in 1928 in Missouri, grew up in St. Louis but settled in New York in the 1950s. He made his mark as a documentary photographer — his adopted home was a favorite subject — whose unobtrusive style, Cornell says, helped put his subjects at ease.

As one of his obituaries noted, “Don had the ability to listen with his camera. Instinctively he under stood that to capture artists at their best moments, patience, trust and humility were needed.”

Now Cornell and her mother, DeeAnne Hunstein, who also helped develop the website, are hoping to bring some more attention to Hunstein’s work, in turn highlighting an era when photography became an important tool for documenting the cultural history of music.

“My dad was humble to a fault, just very self-effacing,” Cornell said during a recent phone call. “He didn’t act like a fan [of musicians] or put himself out there like he was some kind of big shot … He saw this as a job, and he always said he was lucky to be at the right place at the right time.

“And yet he created all these great images,” she noted. “People liked him — they felt comfortable around him, he was good at making a joke, and that’s why he was able to do what he did.”

Case in point: Cornell says Johnny Cash could sometimes be testy with reporters and photographers, but her father and the gritty country singer hit it off, with Cash inviting Hunstein to visit him on his Texas ranch in the late 1950s.

Though Hunstein mostly took black and white photos, his website offers a couple especially atmospheric images of Cash in color. In one, wearing a checked shirt and a straw hat, he leans on a worn wooden fence rail and looks off moodily into the distance. In another, the singer, this time decked out in dark suit and white shirt, sits with his guitar on a huge woodpile, his nearby open guitar case revealing a bright purple interior.

“I love that mix of colors!” Cornell said.

hen there’s the near-silhouette of jazz great Thelonious Monk, hunched over a piano, a cigarette dangling from his mouth (there was a lot of smoking in Columbia’s studios in those days). And Cornell says one of her father’s favorite photos was an image he took of Duke Ellington, his “all-time hero,” as she puts it.

“My dad used to say he was really lucky to have this job, because he was such a huge music fan himself,” she said.

‘Don Hunstein did all this?!’

Bill Alatalo, a co-partner of cdeVision with Antonio Costa, says the company actually first designed a website for Hunstein’s work perhaps a dozen years ago after Cornell first approached them. It was a simpler affair, with far fewer images, Alatalo notes, in part because Cornell and her mother were busy at the time trying to help Hunstein, who struggled with Alzheimer’s disease for about a decade before his death.

Then Cornell got back in touch about a year ago, Alatalo said, and asked if cdeVision could develop a new site. “The old one kind of got lost in the shuffle, and at this point Tina had a lot more photos for us to work with,” he said. “Antonio and I were amazed — we were like, ‘Don Hunstein did all this?!’ ”

As a music lover and record collector himself, Alatalo says the Hunstein website “has just been a cool project to work on, to really give it some play and give people a better sense of what he did.” The website also dovetails with other music-related work cdeVision has done in recent years, Alatalo said, such as designing a new site for Hawks & Reed Performing Arts Center in Greenfield.

For Cornell, who was born in 1968, her father’s website is a deeply personal project. She was inspired by his work as she got older, she says, and studied photography herself as well as drawing and painting. She came to the Valley about 20 years ago with a former partner, and the couple had plans then to create a pottery studio. Today she works as a jeweler and goldsmith and also is involved with a local chapter of an environmental group, Mothers Out Front.

She can remember going as a kid to her father’s studio at Columbia Records, then located in a building on 52th Street near 5th Avenue in Manhattan, and “playing with the props” while her dad was arranging shots of various artists.

“It wasn’t until I was older that I really developed an awareness of the full scope of his work,” she said.

Cornell and her mother have also established the new website as a means of protecting the provenance of Hunstein’s work. Some of his photos now crop up online, such as on people’s Instagram sites, and go uncredited, she noted, and she’s had to ask people to remove the pictures.

In addition, the Sony Corp. bought Columbia Records (and Columbia Pictures) in the late 1980s, acquiring all of Hunstein’s work for the record label, and Cornell and her mother have since worked with Sony to gain access to many of those images.

Ultimately, Cornell says, the website is designed to reacquaint people with her father’s work and his era as a photographer. He never took to computers or digital photography, she notes, instead working with contact sheets in his darkroom, giving his photos a distinctive style and pedigree that she believes is worth commemorating.

More are added to the website regularly, she says, and the site also has many images her father took of Puerto Rican communities in New York City in the early 1960s, part of a book project for an English publisher.

“My dad was just a huge part of my life,” she said. “This is my way of honoring that.”





Friday, March 24, 2017

DON HUNSTEIN 1928 - 2017

Don Hunstein: Bob Dylan and Suze Rotolo, New York, 1963







“I have photographed the famous and the not so famous: business execs and athletes and especially musicians – jazz, classical and pop. The resulting pictures have appeared on over 200 LP and CD covers and on promotional flyers and press kits, in magazines and company reports and advertising.”
--Don Hunstein

Don Hunstein’s iconic photographs have become symbols of an era. In the history of music photography, Don’s work during his 30 years at Columbia records is unsurpassed in its scope and breadth. Through his subtle humor and quiet nature, he was able to record many great moments in music history. He photographed the famous and the not so famous. Hundreds of album covers and behind the scenes work. His photographs documented a rare time when musicians spent time on their art, rather than their publicity.

Don Hunstein grew up in St. Louis, MO and attended Washington University, graduating in 1950 with a degree in English. After college he enlisted in the US Air Force and was stationed in Fairford, England, and assigned a desk job. It was this assignment that allowed him to travel around Europe. He began photographing casually, taking pictures to send home to his family, and then with the help of a Leica M3 purchased in the PX, and inspired by a book of renowned street photographer Henri Cartier Bresson’s work, his hobby began to take him on a lifelong path. After a year in Fairford, Don was transferred to a base outside of London.  There he joined a local camera club and took evening classes at London’s Central School of Art and Design, becoming influenced by the artists and designers whom he met there.

He returned to the States in 1954, ending up in New York City, where he eventually landed an apprenticeship in a commercial photography studio. There he honed his photography skills by mastering large format cameras and lighting.  At the time, photography was, as Don put it: “ not a glamorous profession,” but he didn’t have a pull in any other vocational direction and it satisfied his creative side. As chance connections were made, he soon met and became mentored by Deborah Ishlon, who worked in the publicity department at Columbia Records. She offered him a job helping her run the photo library there and supplying prints to the press. As he began to take his own photos for the company, they recognized his talent, and he gradually worked his way into the position of Director of Photography for CBS Records

Don’s most notable role was as chief staff photographer for Columbia Records during its heyday in the realms of rock and roll, jazz and classical music. Fortunately for Don, this was a time when the company was under the direction of Goddard Lieberson, who thought it important to document in photographs the cultural history of the music of their time. So he had the opportunity to do far more than album covers and publicity shots, covering their recording sessions and even visiting them on their home turf.   Don had the ability to listen with his camera. Instinctively he understood that to capture artists at their best moments, patience, trust and humility were needed.  This ability to set both new comers and experienced stars at ease in his presence is evident in his photographs, which captured the intimate personal moments as well as the quintessential portraits.

Don’s access to a broad range of musicians, in a wide variety of musical styles, was unparalleled in the photographic world. Over the course of his career at CBS, he shot hundreds of album covers and documented the recording of many of the great albums in music history.

We were tremendously fortunate to have known Don for many years, and send our condolences to DeeAnn and  his family




Tuesday, October 18, 2011

Tuesday, May 24, 2011

BOB DYLAN AT 70




Bill Eppridge: Bob Dylan with Pete Seeger, Newport Folk Festival, 1964


Bob Dylan and Suze Rotolo, New York, 1963
Don Hunstein: Bob Dylan and Suze Rotolo, New York, 1963



Elliot Landy: Bob Dylan, Infrared, Woodstock, 1968



Elliot Landy: Bob Dylan, Woodstock, (Nashville Skyline), 1969



Bob Dylan,  1975
Ken Regan: Bob Dylan, 1975




Bob Dylan and Bruce Springsteen Meeting For First Time, Backstage, New Haven, Ct, 1975
Ken Regan: Bob Dylan and Bruce Sprinsteen meet for the first time, backstage, New Haven, CT, 1975




Bob Dylan and Allen Ginsberg at Jack Kerouac's grave, Lowell, MA, 1975
Ken Regan: Bob Dylan and Allen Ginsberg at Jack Kerouac's grave, Lowell, MA, 1975

For 50 years, Bob Dylan has inspired musicians and songwriters, politicians and protesters, presidents and popes. Robert Allen Zimmerman was born in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota.  Explaining his change of name in a 2004 interview, Dylan remarked: "You're born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free".



Monday, February 28, 2011

Suze Rotolo, Muse and Girlfriend to Bob Dylan, Dies at 67

Bob Dylan and Suze Rotolo, New York, 1963
Don Hunstein: Bob Dylan and Suze Rotolo, New York, 1963

ArtsBeat - New York Times Blog

The New York Times
February 28, 2011, 1:16 pm
By William Grimes


Suze Rotolo, Muse and Girlfriend to Bob Dylan, Dies at 67


Suze Rotolo, who entered into a romantic relationship with Bob Dylan in the early 1960s as his career was just getting started and, in one of the signature images of the decades, walked with him arm-in-arm on the cover of his groundbreaking second album, “The Freewheelin’ Bob Dylan,” died on Thursday at her home in Manhattan. She was 67.


The cause was lung cancer, her husband, Enzo Bartoccioli, said on Monday.

Ms. Rotolo, whose nickname was pronounced su-zee, met Mr. Dylan in 1961 at a Riverside Church folk concert at which he was performing. She was 17; he was 20.

“Right from the start I couldn’t take my eyes off her,” Mr. Dylan wrote in his memoir, “Chronicles: Volume 1,” published in 2004. “She was the most erotic thing I’d ever seen. She was fair skinned and golden haired, full-blood Italian. The air was suddenly filled with banana leaves. We started talking and my head started to spin. Cupid’s arrow had whistled past my ears before, but this time it hit me in the heart and the weight of it dragged me overboard.”

In her own book, “A Freewheelin’ Time: A Memoir of Greenwich Village in the 60’s” (2008), Ms. Rotolo described Mr. Dylan as “oddly old-time looking, charming in a scraggly way.”

They began seeing each other and shared a walk-up apartment on West Fourth Street in Greenwich Village.


Suze Rotolo and Bob Dylan
Don Hunstein/Sony BMG Music Entertainment

Suze Rotolo and Bob Dylan in their apartment in 1963

The relationship, lasting four years, was rocky. She was the daughter of Italian Communists with her own ideas about life, art and politics that made it increasingly difficult for her to fulfill the role of helpmate and, as she put it in her memoir, “boyfriend’s ‘chick,’ a string on his guitar.”

Her social views, especially her commitment to the civil rights movement and her work for the Congress for Racial Equality, had a strong influence on Mr. Dylan’s writing, as did her interest in theater and the visual arts, which exposed him to ideas and artists outside the world of music.

When, to his distress, she went to Italy in 1962 to study art at the University of Perugia, her absence inspired the plaintive Dylan love songs “Don’t Think Twice, It’s All Right,” “Boots of Spanish Leather” and “Tomorrow Is a Long Time.” He later wrote a song highly critical of her family, “Ballad in Plain D.”

Ms. Rotolo spent most of her adult life avoiding discussions of her relationship with Mr. Dylan and pursuing a career as an artist, but she relented after Mr. Dylan published his autobiography. She appeared as an interview subject in “No Direction Home,” Martin Scorsese’s 2005 documentary about Mr. Dylan, and wrote “A Freewheelin’ Time” in large part to tell her side of the Dylan story and to portray herself as more complicated than a muse.

A fuller obituary will be posted at nytimes.comhttp://www.nytimes.com/pages/obituaries/index.html.