May 1, 2012 | by Blake Eskin
Working with words is how I’ve made my living, but becoming a photographer has been a longtime fantasy, fed by the vinaigrette smell of the chemistry in the college darkroom, the monographs in the library upstairs, and all the museums and galleries and bookstores I’ve visited in the decades since. The more amazing work I saw, the more shy I became about picking up a camera, so this fantasy was sublimated into writing about photography, even writing about writing about photography.
The pictures that speak to me most are street photographs. I wanted to be a surreptitious chronicler of urban life, like Henri Cartier-Bresson or Helen Levitt or Elliott Erwitt. Street photography took off with the Leica, a groundbreaking portable camera introduced in 1925 that used the same 35-mm film manufactured for motion pictures. By the time I became aware of street photography, its golden age—its culturally decisive moment, so to speak—was behind us. To practice street photography at the end of the twentieth century seemed like nostalgia.