"Dustin Pittman New York After Dark" by Roger Padilha and Mauricio Padilha, RIZZOLI NY
©Dustin Pittman
Dustin Pittman is a celebrated photographer whose career spans over six decades, capturing iconic moments in music, fashion, and New York City’s vibrant cultural scene. Known for his unique ability to forge personal connections with his subjects, Pittman's photographs exude a rare authenticity and intimacy, transcending typical staged images. His work documents pivotal figures and movements—from the rock-and-roll revival of the late 1990s to New York’s underground music scene—featuring legendary icons such as The Strokes, Vivienne Westwood, Jackie Kennedy, Debbie Harry, Andy Warhol, Yeah Yeah Yeahs, and Interpol. Driven by a passion for real-life moments over conventional sittings, his timeless and deeply personal images are preserved in extensive archives containing thousands of unseen photos. His legacy is further celebrated in Dustin Pittman New York After Dark by Roger Padilha and Mauricio Padilha, published by RIZZOLI NY, offering a glimpse into the evolution of music, art, and life in New York.
Cannon: You've photographed so many iconic New Yorkers and bands and visionaries and actors. What was one of your favorite shoots?
Dustin: I have a lot of favorite photo shoots. It’s hard to describe because many involved relationships with the designers and people I photographed. It was a privilege to have their trust. I call it unguarded moments because they let their guard down with me, as we were friends. A few favorite moments span different genres and time periods, particularly from 1968 to 1983, a time of freedom and experimentation.
Cannon: David Bowie. I was inspired by seeing some of those images. What was he like? What was it like shooting him?
Dustin: It was wonderful. I respected them as artists, but I was never into celebrity culture. I met David Bowie during various tours, and we would chat like normal people. It was intimate and real, rather than just a celebrity encounter.
Cannon: Those intimate moments with larger-than-life personalities are the best. What were some challenges you faced photographing these artists?
Dustin: Actually, it was pretty easy. I had my camera, and it was relaxing. I built relationships with many celebrities, and they respected my approach of not always having a camera in their face.
Cannon: How do you think the relationship between photographers and musicians has changed since the iPhone era?
Dustin: I try to build relationships without sticking a phone in their face. My style has always been about getting to know people and capturing authentic moments, rather than just being a paparazzi.
Cannon: With everyone having a camera now, how do artists feel about their moments being captured?
Dustin: It’s a tough time. I’ve had unguarded moments that are hard to achieve now. I appreciate the friendships I built during that time, which allowed for more authentic interactions.
Cannon: Every photographer has a favorite camera. What's yours?
Dustin: I have a range of cameras depending on what I want to capture. It’s about using the right tool for the right vibe rather than chasing the latest equipment.
Cannon: How has New York changed since you captured it in "New York After Dark"?
Dustin: New York is always evolving. I embrace the changes and enjoy photographing the new wave of young designers and artists.
Cannon: This is your first big book. How do you feel about the critical acclaim it's received?
Dustin: I’m grateful. I've been shooting for 65 years and wanted to capture the dance of life. The universe aligned for this book to happen, and I appreciate the support from my friends in curating it.
New York After Dark book signing
©Andrew Werner
Cannon: Advice for young photographers and artists?
Dustin: Guard your archives. It’s important to take care of your meaningful work. I’ve had many opportunities to do books, but capturing life has always been my priority. Another one for young photographers is to have your camera on you all the time. There's always something unique to see with your eye and to focus on. I really believe it's not about the equipment.
Cannon: You're lucky to team up with Mauricio and Roger for this book.
Dustin: Absolutely. Knowing them for so long helped create a genuine representation of my work and essence in the book.
Cannon: How important is building relationships when photographing people?
Dustin: Building trust and establishing relationships is fundamental in portrait photography. When you photograph someone, you’re not just capturing their likeness; you’re telling their story. It's essential to engage with them on a personal level. Take the time to converse and understand who they are—their background, their emotions, and what makes them unique. This connection allows you to capture their essence authentically.
When people feel comfortable with you, they are more likely to reveal their true selves, which translates into more genuine and compelling photographs. Pay attention to not just their words but also their body language, expressions, and the subtle cues that convey their feelings. This level of engagement can help you create images that resonate deeply because they reflect the individual's character and emotions.
Cannon: What has been your approach to photography?
Dustin: My approach has always been to seek out the underdog and the real moments in life. I derive great joy from spontaneous photography rather than staged sittings. There's something incredibly powerful about capturing a fleeting moment that tells a story, whether it's an intimate interaction or a raw performance.
I’ve spent years documenting bands and artists before they achieved fame, immersing myself in the vibrant music scene. I love the energy of live performances, especially in smaller venues where the atmosphere is electric and intimate. Those moments are where true artistry is often born, and I’ve made it a point to capture not just the bands but also the crowd and the environment that surrounds them. It’s about creating a visual narrative that reflects the culture and spirit of the times.
Cannon: How do you feel about the changing landscape of photography and venues?
Dustin: The landscape has changed dramatically over the years, particularly in urban environments like New York City. Many iconic venues that were once hubs of creativity and cultural exchange have disappeared, replaced by high-rises and commercial developments. This shift is bittersweet, as it signifies the loss of unique spaces where art and music could thrive.
I have a vast archive of photographs from those vibrant times that tell the story of a unique cultural movement in music. These images capture not just the bands and their performances but also the atmosphere of the venues, the audiences, and the surrounding neighborhoods. Each photograph is a time capsule, preserving a moment that may never happen again. The challenge now is to find new spaces that foster creativity and community, as the essence of those early experiences is irreplaceable.
Candy Darling from a film still 1971
©Dustin Pittman
Cannon: Any final thoughts for the audience?
Dustin: My final thoughts would be to keep shooting and stay true to your artistic vision. Don’t be afraid to take risks and experiment with your photography. Trust your instincts and let your creativity guide you. There are countless stories waiting to be told, and your perspective is what makes them valuable.
Engage with your subjects, explore new environments, and never stop learning. Photography is a journey of discovery, both of the world around you and of yourself as an artist. Cherish your unique voice and allow it to shine through your work. Thank you for the opportunity to share my thoughts!
Cannon: IRK is helping raise awareness on the 17 Sustainable Goals from the United Nations. What goal(s) do you align with the most?
Dustin: I feel that recycling fashion internationally ( just like you are doing) is incredibly important and getting these clothes to the people in these needy communities around the world and making sure that are physically receiving them (actually in their individual hands) is so important. Most people have too many clothes and constantly buy more and more. We need people to let go of holding on to closets full of fashion that they think they will wear but never will and distribute it to the needy.
Cannon: Is there anything else you would like to tell our readers?
Dustin: During the 60’s & 70’s, what was Spiritually beautiful about that creative time period was that when you worked on an art piece or any creative project in all fields - there was a golden moment where that project could simmer before it exploded onto the media. One could relish the feeling of NEWNESS for awhile. Today, with everything moving so fast and faster. The Next Big Thing is just a SWIPE AWAY ………..
Cannon: You’ve known Dustin for a long time, How did you curate this book?
Roger Padilha: We have always been interested in doing a book that captured the dichotomy of high and low culture which collided in a very specific time in the 1970s in NYC. Dustin had been telling us about his archives for years and when we finally saw the scope of his work it was perfect to illustrate the moment in time that no longer exists.
Cannon: And how many slides did you go through?
Mauricio Padilha: Thousands and thousands! It literally took an entire summer!
Cannon: What was the process like working with Rizzoli to bring New York After Dark to life? How did Dustin’s vision align with your creative direction for the book?
Roger Padilha: Working with Rizolli is second nature to us—we have been with them for over 15 years now and this is our fifth book with them! They are the best. Dustin was great cause he really trusted us with how to showcase his work in the book.
Cannon: This is your 5th publication with Rizzoli! And we @IRK love all of them , Tell us about each one and tell us about your process.
Mauricio Padilha: Our first book was The Stephen Sprouse Book, a designer and artist we always loved. It was a tremendous success and after years of not being available, it is back in a limited edition printing so get yours today! Antonio: Fashion, Art, Sex, & Disco was a true monograph on illustrator Antonio Lopez, another favorite of ours who we felt never got his deserved recognition. What a genius! Gloss: The work of Chris Von Wagenheim was not only on a fashion photographer we loved but also the dark side of NYC in the seventies. Starmaker: Richard Bernstein was a way to give credit to the artist behind those iconic Interview magazine covers that truly defined the birth of celebrity culture.
Cannon: Tell us how you mapped and storyboarded this book with Dustin?
Roger Padilha: That process was really just between Mauricio and me. We showed Dustin the book once it was finished and thankfully he loved it as much as we did when we were doing it.
We made a decision early on to focus on the juxtaposition of images rather than work chronologically. It made the work more interesting to see gritty images of glam rock bands next to glamorous images of uptown society women. It really captured the reality of how the different scenes of NYC were defined yet intermingled with each other.
Cannon: What’s your advice for emerging authors and publishers?
Mauricio Padilha: Pick a subject you really love—whether an artist or a location or a time period— as books take a long time to put together and if you don’t truly love the work, it will be impossible to stay engaged throughout the entire process .
Jalalive - Platform streaming bola anti ribet hari ini dan besok termasuk update bola timnas indonesia
Bei meiner Suche habe ich mehrere Plattformen gefunden, die ich empfehlen würde. Sie wurden für mich zu einer Offenbarung. Diese Seiten bieten nicht nur eine riesige Auswahl an Fetischvideos, sondern man kann sich auch mit Gleichgesinnten austauschen. Dies ist ein großartiger Ort, um verschiedene Fetische zu erkunden und neue Trends kennenzulernen. Auch clips for sale war sehr hilfreich. Hier finden Sie eine große Auswahl an Fetischvideos, sortiert nach Kategorien. Die Seite ist besonders für spezifische Interessen geeignet.
Ist Ihnen aufgefallen, wie beliebt Fetischvideos und -clips in den letzten Jahren geworden sind? Diese Videos sorgen oft für Kontroversen und Diskussionen. Welchen Einfluss haben sie Ihrer Meinung nach?