Photographer Dave Jordano attended the College for Creative Studies and received a BFA in photography in 1974. Jordano moved to Chicago in 1977 and started a successful commercial photography business which teamed with companies including Starbucks, Sears, and McDonald’s, among others. In 2001 Jordano began producing “fine art” photographs when he started his “Chicago Bridge Project”. Jordano’s work has changed over the years, from his early days of black and white portraits, to industrial structure landscape, to a modern exploration of landscape and its inhabitants.
When Jordano’s early work from 1970’s Detroit is observed (http://www.davejordano.com/#mi=1&pt=0&pi=52&p=-1&a=-1&at=0), it is possible to see the influence from the photographers he drew inspiration from. Jordano names Cartier Bresson as one of his influences, and I see Bresson’s style present in Jordano’s early work. Candid black and white photographs, often featuring multiple subjects can be seen in Bresson’s work (https://www.google.com/search?q=cartier+bresson&biw=1440&bih=775&source=lnms&tbm=isch&sa=X&sqi=2&ved=0ahUKEwiDzsfd_rbLAhUBMj4KHSCkDzcQ_AUIBigB), and the same is plain to see in Jordano’s early 1970’s photographs. The use of black and white forces the photographer, and viewer, to see things differently. Black and white influences the photographer creatively, and can provide a strong emotional connection to the subject. Free of the distraction of color, the photo can bring out eyes and a face in a way that would be lost if not for the dramatic contrast of black and white. There is a timeless quality to Jordano’s black and white photography which is supplemented by the strong composition that his work exhibits. Jordano’s portraits and street photography of the early 70’s shows the individual, and individuals among the chaos of city life. Whether it is the modern world passing an old person by, or a youth in the proud prime of life, Jordano captures the spirit of the moment beautifully, and for all time. Jordano achieves this through angle, juxtaposition, contrast, and of course, subject matter. In one photo, an elderly worker sits in a darkened corner of an office, a relic of a time gone by, while in the foreground, a youthful hand holds a paper cup with a modern soft drink logo. In another photo, a young man stands in the foreground, powerfully shot from below, his hair greased back. The young man in contrasted by another young man in the background, with just the hint of the nose of a street rod in between the two. These photos are powerful, and are not only strong compositionally, but are strong thematically. There is story and meaning to the images, played out for the viewer by the people who are the subject.
In 2001 Dave Jordano began work on his Chicago Bridge Project. This work (http://www.davejordano.com/#at=0&mi=1&pt=0&pi=51&s=0&p=-1&a=-1) consisted of photographs of bridges and other industrial structures in and around the city of Chicago. This project was Jordano’s first fine art project since the early 1970’s, and focuses on architectural landscapes as opposed to portraits. Urban landscapes can display the grit, beauty, and design behind a city. In this project, Jordano captures the magnificence of Chicago’s bridges. Like his earlier portrait work, Jordano succeeds with the use black and white, composition, and timing. In this photograph (http://www.shashicaudill.com/wp-content/gallery/dave-jordano-bridges/lasalle-st_-bridge-chicago.jpg), Jordano chooses to wait until it is dark enough for street lamps to be lit, but not too dark that the water is lost in the night. Jordano uses the angle of the buildings in the background to handle composition. The angle of the buildings contrasts the angle of the water almost perfectly. The buildings are lost in fog, emulating the murkiness of the water. The bridge stands out as the subject, contrasting the infinite right angles surrounding it with rounded, flowing features. This is a truly beautiful photograph.
In 2010, Jordano returned to his original hometown of Detroit to begin work on what he calls a “re-photography” project. Having done his early black and white portrait work in Detroit, Jordano’s goal was to document the changes that had taken place over nearly forty years. According to Jordano, most photographic work done in Detroit in recent years has focused on economic and abandonment issues. Jordano views this as an attempt to create beauty out of tragedy, and considers it a one-dimensional approach that is detrimental to Detroit’s image. Having been born and raised in Detroit, Jordano wants his work to show the human side of the city. Detroit is not the apocalyptic, decaying city as portrayed by the media, but is a place made up of many communities surviving through perseverance. The abandonment is overwhelming, but the people live on. Jordano’s work in Detroit doesn’t steer away from the hard issues, but includes the people who are full of life, despite the struggle. There is a present sense of hope in the photos. One photo in particular (https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcR1ABehC-cxco-lg8dbCodyN_ndxOESZmwPFR-ysttm7kduTcKq) shows a group of police cadets practicing riot control training in the parking lot of an abandoned shopping center. The police academy trains cadets in public spaces to gain better public relations with residents of local neighborhoods. It’s an interesting subject that contrasts the uniformed, orderly cadets against the disorder of the unkempt, abandoned shopping center. Order among chaos. In Jordano’s modern Detroit work (http://www.davejordano.com/#mi=1&pt=0&pi=44&p=-1&a=-1&at=0), he abandons black and white photography for color. I believe Jordano chooses color to bring his subjects out of the perceived dark and decay, and into bright, exciting life. This work is about both the people and their environment. Nothing should be hidden. The cracks and fades exist alongside the hope, and surprisingly diverse skin color of the people. Contrary to popular belief, people of light skin aren’t immune to poverty, and many live in poor Detroit communities. Jordano was at first surprised by the number of white people he encountered, and made sure to include them in his work. Again, Jordano chooses to show reality instead of giving the public the stereotypical view. Jordano’s work in Detroit resembles the work of Sebastiao Salgado. Salgado’s work presents the faces of nature and humanity in black in white, in the same way that Jordano’s work presents humanity and its urban environment in color. Neither photographer steers away from reality, and finds beauty in the perseverance of the subject.
Dave Jordano’s philosophy should inspire those who wish to follow in his footsteps. As Jordano himself learned from greats such as Sebastiao Salgado, others can learn from Jordano. His work can be studied technically as well as morally. Like Salgado, Jordano’s work raises public awareness. His work isn’t photography for the sake of photography, but something is something more that tells an honest story. This work transcends, and will stand the test of time. Since 2010, Jordano has been back to Detroit more than sixteen times. Jordano’s philosophy is that “...you don’t pick your projects, they pick you. If you’re concerned enough about something it will ultimately surface and you will have to act upon it.”
References:
https://en.wikipedia.org/wiki/Dave_Jordano
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