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Rangefinder
Magazine Profile: Steven Katzman by Harvey Goldstein
Steven Katzman recognizes himself as a self-taught portrait photographer, but he is not a traditional, cookie-cutter portrait photographer. He has combined his long-time interest in political science with his photographic journey. A quick glance at his web site will tell you he is imaginative, unique and not afraid to take creative risks. His desire to understand what lies beneath the surface has taken him on a series of journeys, often into what is considered our modern day underworld. These excursions have resulted in series of works based on boxers, boot camp detainees, cockfights, death, and, most recently, revival meetings. Although he does not work from anyone’s theories on the appropriate direction for contemporary art, most of his photographs exemplify the modern notion that to be relevant in the 21st century, art needs to be political in nature. Katzman is, however, an artist, not a propagandist. Consequently, his images are not overtly political. The viewer must take the time to think about each photograph to arrive at its ultimate message. It’s not your everyday subject matter for the 9–5 photographer. Throughout his journeys, Katzman has captured the essence of his subjects. This essence may startle the viewer with its razor-sharp clarity, or it may be so murky that one has to inhale and move in closer to comprehend. Always, though, there is a challenge to look deeper, to think about both subject and artist.
Steven Katzman was raised in an upper middle-class environment where taking pictures was a pastime. His father would use his twin lens Rolleiflex to document the family vacations and social gatherings. There is a snapshot that his father made of Steven when he was three: Steven had built a view camera of cardboard blocks, stacked them on top of each other, and used the bulb of a turkey baster as a cable release. While Katzman was enrolled at the University of Wisconsin at Green Bay, he spent a lot of time studying the Native Americans and their art and culture. The book Let Us Now Praise Famous Men by James Agee and Walker Evans had a such an effect on Katzman that it prompted him to take his new Nikkormat, with a 50mm f/1.4 lens, and drive to the Oneida Indian reservation to photograph the Native Americans. Oneida is a reservation approximately 15 miles outside of Green Bay. The Oneidas are from the great Iroquois Nation that were moved west from New York. When Katzman visited, what set the reservation apart from the rest of the area was the absolute poverty. There were shacks with no plumbing, a stove used for heat and last year’s newspapers for insulation. Katzman’s motor home had more amenities than the people on the reservation could possibly imagine. Katzman’s fascination with boxing began in the late 1950s when he would watch the Friday night fights on TV with his grandfather.
“ As a privileged child attending summer camp, I was in a boxing match. No training involved, I just fought for the fun of it. Boxing wasn’t sport, it was hitting and not being hit. I won the fight, but I was hit a lot, something I haven’t forgotten. Boxing is much more than sport, it’s a way of life, a vehicle out of the blight of urban decay and poverty, a road to personal glory and self-esteem, regardless of the age of the fighter, whether he is an amateur, journeyman or champion. “ Boxing is a business, a big business, where financial gain can be staggering, reached only by an elite, fortunate few. Despite this disparity, there exists an intimacy within the boxing community, a delicate thread woven between fighter, trainer, manager and extended family.” During the time that Katzman pho-tographed the boxers, he traveled to the Safety Harbor Spa, Miami’s Fifth Street Gym, New York’s Times Square Gym and Gleason’s Gym, located under the Brooklyn Bridge. “Most of these gyms are located in rough neighborhoods where young men seek refuge from the outside temptations of drugs and violence. On the street, life exists around chaos, 24/7, but in the gym, life is a three minute world, dictated by the bell’s discipline, cutting through the smell of stale sweat, the snap of fist against bag over the staccato of the jump rope and speed bag. Men show consideration of each other regardless of race, language and education. There is a common bond of mutual respect for their dedication towards victory, self-esteem and preservation.
“ The photographs and interviews capture the light and spirit of self-confidence and trust. In short, a collection of portraits emphasizing the intimacy of boxing while dismissing the sensationalism of ring violence. The photographs are a mirror of ourselves, our personal struggles with failure and success, making us stronger human beings by recognizing that our strength lies in our differences.” Katzman continues, “The subjects that I choose are a metaphor of my pain, alienation, death, religion and a sudden spiritual rebirth. I have always used the camera as my passport, allowing me personal access behind closed doors. I want the viewer to feel my pain, my anger and joy; to be aware of those that exist at the edge of society’s wasteland.” This path led Katzman to a local newspaper ad, “Come witness the blind see, the cripple walk, the drug addict be cured, the prostitute healed. Come to the Miracle Tent.” This was to take place in Sarasota, Florida, his hometown, with its white sandy beaches, dripping sunsets and concrete and glass sandcastles. He saw people in the throws of human turmoil, asking their God for forgiveness, and he captured these miracles on film. He left the Miracle Tent that evening wanting the same passion in his work that he captured on film. He has since returned to the Miracle Tent and other revivals and has experienced a renewed passion for his work and a new relationship with God. His photographs will appear in Evolution of the Moment, a book on spiritual revivals to be published by powerHouse Books in the fall of 2004. Katzman says, “I have always been drawn to the human element of personal conflict, whether it be in the boxing ring, prison, juvenile boot camp or revival. My subjects are not paying me to photograph their family portrait to hang above the mantle with artificial brush strokes. I am paying them more attention in that brief moment than they have often experienced before. They are perfect strangers enlightening me about the human condition.” The corner of Martin Luther King Blvd. and US Highway 301 is the gateway to Newtown, Sarasota, Florida’s African American community. Katzman has recently received a grant from philanthropist and supporter of the arts Vernon Buchanan to document Newtown. His wants to show the sense of hope and family that pervades the community, despite its poverty. It is an opportunity for Katzman to mentor young photographers and help them create a documentary of their lives for future generations so they will know their roots. Katzman will photograph the families in a church recreational hall with a 20x24 Polaroid camera on loan from an old friend and CEO of PhotoTech, Peter Turo. Katzman’s voice rocks with exuberance when he talks about this project. He is excited that he will be the first to document the people of Newtown; he is excited that he is able to give back to his community utilizing his talent. Katzman advises young photographers: “Take creative risks to develop your art form. If it is uncomfortable, it is worth the risk. Don’t become a victim of the fear of success. Nothing of great value was created from a state of complacency. Be honest with yourself and your work will reflect your integrity and verify the reason you became a photographer.” Katzman captures his images with a Mamiya 7II rangefinder. His film of choice is T-Max 100/400, scanned on an Imacon 848 virtual drum scanner, which he then outputs to an Epson Stylus Pro 9600 printer. Katzman’s energy has spilled over into the new technology. He has spent 30 years in the darkroom and has finally opened the door and has “let the entire dark out and embraced the digital light.” Katzman has the same feeling about digital output as when he pulled his first black-and-white print from the soup. He states that the availability of new resources only enhances our vision, never replaces it. He adds that the ability to print an image in the traditional sense, regardless of size, is no longer dreaded. He no longer has to mix caustic chemicals, inhale acetic acid, fixer and toners. He is happy he’s not at the discretion of a commercial lab that does not share his aesthetic vocabulary. He is in complete control of his aesthetic vision and work. If his interpretation changes, he can return to the files, not the darkroom. He gets immediate feedback, which leads to greater creative risks and rewards. Steven has recently teamed with LexJet Direct, a supplier of complete digital color output solutions, headquartered in Sarasota. With LexJet, he has transitioned from working in a conventional darkroom to complete digital output, utilizing Image Print, a RIP (Raster Image Processor) developed by Color Byte Software. Katzman regards Image Print the same as he would a lens—both are tools that enhance creative vision. Trying to print a black-and-white image from a printer can be frustrating. All of the wasted time, ink and paper may never achieve the neutral tonality previously produced in the darkroom. With Image Print software, Katzman can print selenium, sepia and a wide array of other tones with the click of a mouse. With this software, Katzman believes black-and-white and digital printing has come of age. Another benefit of using Image Print, he adds, is the extensive library of custom paper profiles. Image Print enables the photographer to split image tones in grayscale images and be able to selectively color and add continuous black-and-white tones in the RGB color space. This can all be done seamlessly. Visit Katzman’s web site for an in-depth look at his many portfolios www.stevenkatzmanphotography.com/. Harvey Goldstein from Branford, Connecticut, has been in the photographic industry for 30 years. He is a former studio owner and presently edits numerous association newsletters and magazines, as well as being a freelance writer.
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