![]() Lester Young in a New York City TV studio circa 1957Ĭoleman Hawkins bides his time in a New York City TV studio in 1957īen Webster relaxes at Beefsteak Charlie's Jimmy Rushing, Scoville Browne, Maxine Sullivan, Joe Thomas, Coleman Hawkins, Oscar Pettiford, Marian McPartland, Emmett Berry, Sahib Shihab, Thelonious Monk and Rex Stewartĭizzy Gillespie and friends, jazz festival, Nice, France, c.1981īillie Holiday in her last recording session, in New York, 1959 1957īillie Holiday Recording studio, New York City, circa 1958 Berger, and Holly Maxsonĭizzy Gillespie and Charles Mingus backstage at the Newport Jazz Festival 1971 From Playing the Changes: Milt Hinton's Life in Stories and Photographs, by Milt Hinton, David G. The success of digital processing is clearly visible in the 2002 Berger and Maxson documentary film, Keeping Time: The Life, Music & Photographs of Milt Hinton, and in some of the photographs that appear in their book Playing the Changes: Milt Hinton's Life in Stories and Photographs as well. Computer software allows a trained user to restore a damaged negative or print and to retrieve elusive details from poor-quality images while maintaining the integrity of the photographs. Scanning has become faster and more accurate, and digital storage is less expensive. This on-going project, begun in the late 1990s, in recent years has benefited from advances in digital photography. Negatives remained paper-clipped to contact sheets for years, which resulted in rust problems, and several basement floods caused many to adhere to one another and to their paper sleeves.Ī current and major goal of the collection is to complete a database of Milt's photographs. Many rolls of film remained undeveloped for twenty years, and because Milt was seldom in the darkroom, at times he inadvertently used stale chemicals to process his film. He rarely used a flash in low-light situations, and to be less obtrusive, he often preset the camera's focus so he could literally shoot from the hip. Milt was never a professional photographer, and he readily acknowledged that many of his pictures are of dubious quality. In their continuing administration of the collection, David and Holly are always mindful of Milt's point of view as a documentarian, his aesthetic, and his "voice." Until Milt's death in 2000, the management of the collection - selecting negatives for reference and exhibition prints, monitoring print quality, and choosing exhibition sites - involved a close collaborative effort between Milt, David, and Holly. ![]() The collection has curated exhibition at venues ranging from neighborhood community centers to museums, including the Corcoran Gallery of Art, the Denver Art Museum, and the Smithsonian Institution. Photographs from the collection have appeared in books, periodicals, newpapers, jazz calendars, postcards, CD art, films, in videos, and on the Internet. Berger and Holly Maxson, contains approximately sixty thousand 35 mm negatives, thousands of reference and exhibition-quality prints, and photographs given to collected by Milt throughout his life. ![]() Hinton Photographic Collection, which is housed in New York City. The black-and-white photographs taken by Milt Hinton between 19 comprise the major part of the Milton J.
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