DOI Page / Citation link:
https://doi.org/10.11588/diglit.21216#0038
and infant Gabriel. As in the Vanguard brochure, here the political activities are
grouped more or less on separate pages. But here she also sings for the Farm-
workers and is shown with a buddhist monk and her mentor Ira Sandperl, and is
not shown at Berkeley or at a black College in the south. The pictures of Baez
with her husband were taken by Jim Marshall who is the Single photographer
most represented in both collections. The pictures of the two at home on the
sofa seem to come from the same photo Session although the color reproduc-
tions differ considerably making the scene in the Vanguard brochure füll of
brown gold tones, while the Playboy picture is cast in a blue light. In the former
Baez and Harris are playful and laughing (it is an action photo where Baez is
reaching out to Harris) while the Playboy photo is serene. These two pictures
most probably taken at the same photo Session give very different ideas of how
Baez and Harris are with and to each other, although the close physical proxim-
ity is common to both. What is missing in the Playboy collection is the emphasis
on festivals. The Vanguard brochure does not include photos of Baez in which
she is as scantily clad as in two photos in the Playboy book, although for Play-
boy Standards she is bündle d up.
From this comparison we can see both the subjective element in the seeming-
ly objective medium of photography and we can also recognize that there are
certain events in Baez' career in this decade which would probably be part of
most any collage of pictures: namely her arrest, the imprisonment of her hus-
band and her singing at Newport. These would be reflected in some form in any
thorough Photographie portrait of Baez. We have also seen that the way in which
this is done depends on the choice of photographs as well as the initial avail-
ability. Conclusion: it is the person(s) who compile(s) the collection who is
primarily drawing a lifeline with the help of the photographers who selected
certain moments as worthy of being shot, and certain negatives or proofs as
being good enough to enlarge. By calling these collections of photographs
lifelines have we not stretched the word beyond permissible limits so that it can
mean any and everything? If these photographs were not dated and if there were
not the semblance of chronology in the order in which they appear, then it
would be out of the question to refer to them as constituting a lifeline. Even so
it is a mute point whether the two collections we have compared represent life-
lines. It is easier to see how photographs can make a lifeline when one calls to
33
grouped more or less on separate pages. But here she also sings for the Farm-
workers and is shown with a buddhist monk and her mentor Ira Sandperl, and is
not shown at Berkeley or at a black College in the south. The pictures of Baez
with her husband were taken by Jim Marshall who is the Single photographer
most represented in both collections. The pictures of the two at home on the
sofa seem to come from the same photo Session although the color reproduc-
tions differ considerably making the scene in the Vanguard brochure füll of
brown gold tones, while the Playboy picture is cast in a blue light. In the former
Baez and Harris are playful and laughing (it is an action photo where Baez is
reaching out to Harris) while the Playboy photo is serene. These two pictures
most probably taken at the same photo Session give very different ideas of how
Baez and Harris are with and to each other, although the close physical proxim-
ity is common to both. What is missing in the Playboy collection is the emphasis
on festivals. The Vanguard brochure does not include photos of Baez in which
she is as scantily clad as in two photos in the Playboy book, although for Play-
boy Standards she is bündle d up.
From this comparison we can see both the subjective element in the seeming-
ly objective medium of photography and we can also recognize that there are
certain events in Baez' career in this decade which would probably be part of
most any collage of pictures: namely her arrest, the imprisonment of her hus-
band and her singing at Newport. These would be reflected in some form in any
thorough Photographie portrait of Baez. We have also seen that the way in which
this is done depends on the choice of photographs as well as the initial avail-
ability. Conclusion: it is the person(s) who compile(s) the collection who is
primarily drawing a lifeline with the help of the photographers who selected
certain moments as worthy of being shot, and certain negatives or proofs as
being good enough to enlarge. By calling these collections of photographs
lifelines have we not stretched the word beyond permissible limits so that it can
mean any and everything? If these photographs were not dated and if there were
not the semblance of chronology in the order in which they appear, then it
would be out of the question to refer to them as constituting a lifeline. Even so
it is a mute point whether the two collections we have compared represent life-
lines. It is easier to see how photographs can make a lifeline when one calls to
33