Village Voice Photographer James Hamilton

Summary

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All Of It with WNYC – "Village Voice Photographer James Hamilton"

Host: Kate Hines (in for Alison Stewart)
Guests: James Hamilton (photographer), DW Young (director, Uncropped)
Date: May 3, 2024

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Episode Overview

This episode of All Of It centers on the life and legacy of James Hamilton, a legendary photojournalist best known for his work at the Village Voice, but whose camera has captured everything from underground punk scenes and war zones to iconic celebrity portraits. The discussion coincides with the release of Uncropped, a documentary directed by DW Young about Hamilton’s expansive four-decade career. The conversation delves into Hamilton’s craft, approach to storytelling through images, his New York roots, and formative assignments at home and abroad.

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Key Discussion Points & Insights

The Genesis of the Documentary

• DW Young’s First Encounters with Hamilton’s Work
  • Young recalls not having a specific moment of discovery but recognizing having seen Hamilton’s imagery across many publications (03:34).
  • Notably recalls a Spin cover featuring Sting that stood out from his childhood:
    "Oh, I’ve totally remembered that cover." (03:47)
• Idea for Uncropped Originated with Producer Judith Mizracki
  • During lockdown, Hamilton joined Facebook and began digitizing and posting archival work.
  • Judith, who was once Hamilton’s photo editor at the New York Observer, was captivated by the breadth of newly shared images and pitched the idea of a documentary (04:15–05:15).
  • DW Young:
    “It was really meeting with James, talking to him about it and hearing what he had to say in the stories and kind of behind it all... we got along... he was open to progressing from there.” (05:35)

Hamilton’s Photographic Journey

• Early Career and the Village Voice
  • Hamilton freelanced for the Village Voice before becoming staff photographer; he describes being on staff for five major publications as a gift (08:29-09:25).
  • "To be working that much and not have to hustle... I was salaried. So I was working every day for basically 40 some years." (08:55)
• The Unique Culture at The Village Voice
  • Emphasis on creative freedom, collaboration, and the paper's blend of journalism and art. Hamilton invented his own assignments and editors encouraged exploration (10:15).
  • Richard Goldstein, former editor and collaborator, describes The Voice’s ethos:
    "You could be as artful as you wanted to be, but it had to work as journalism, too. You could be as journalistic as you wanted to be, but it had to work as art." (09:46)

Memorable Assignments

• Reporting in China during the Tiananmen Square Protests
  • Hamilton recalls his most memorable assignment: covering Tiananmen Square, breaking into a makeshift morgue to document casualties, with student activists smuggling him through the city by bike for access (11:20, 13:11).
  • "They immediately started kneeling down and unzipping body bags for us to give us evidence. And I had to use a flash... I managed to get a bunch of pictures and we spirited that film out of the country with some couriers." (13:11)
• Foreign Correspondence
  • Assignments included covering the Philippines’ political upheaval and the war in Ethiopia (15:03–15:26).
  • “We were under fire constantly, and I had never been in an experience like that.” (15:24)

New York City: Portraits, Street Life, and the Archive

• A Diary of New York:
  • Hamilton positions his work as a “diary” of New York, capturing both famed personalities and anonymous city dwellers with equal humanity (16:16).
  • Wes Anderson, filmmaker and friend, describes Hamilton’s continuous documentation:
    "Every day I receive a photograph from James... it's an incredible ongoing document of the times and places of his life." (15:47)
• The Impulse to Document
  • Art school beginnings at Pratt led to working for a fashion photographer; discovered his true passion walking the streets, camera in hand (16:37–18:24).
  • "Make pictures and basically record…document my life in New York through pictures in the street. Really." (17:24)

Collecting and the Physical Archive

• The Collector’s Eye
  • Hamilton is an avid collector, primarily of movies (thousands) and photobooks (19:13–19:42).
  • DW Young notes the parallel between their mutual affection for historical objects:
    “The Village Voice and these other publications have now become historical objects as printed matter... not really digitized and available as archives…” (18:45)

The Evolution of Street Photography

• Challenges in the Digital Age
  • The prevalence of camera phones and a new guardedness around photography has changed candid street work (20:03).
  • "People think that people are, in a way, more guarded because they don't know what's going to happen to that image... So people are very wary of cameras in the street now, especially a real camera rather than a phone camera." (20:30)
  • Hamilton still prefers film for its process and would shoot it “if he could afford it.”

Style, Approach and Legacy

• Hamilton’s Approach with Subjects
  • Hamilton spends more time talking with subjects than shooting, creating comfort and trust (22:36).
  • “I actually talked to people much more than I took pictures. So I think that helped a lot with just easing the situation…” (22:36)
• DW Young on Learning from Hamilton
  • The director found Hamilton’s ethos and image-making inspiring.
  • “Spending that much time with James’s work, you can’t help but learn a lot…James’s work ethic, his ethos... is, I think, very compelling.” (21:19, 21:52)
• Quiet Observational Style
  • Hamilton is described as seamlessly moving into a scene, observing before shooting:
    "...not a lot of fuss, and you’re quiet and thoughtful... just being the observer who then documents was really interesting." (22:22)

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Timestamps for Key Segments

• 03:34 – DW Young recalls first seeing Hamilton’s work.
• 04:15–05:15 – Genesis of the documentary Uncropped.
• 08:29–09:25 – Hamilton on working at the Village Voice.
• 09:46 – Richard Goldstein on art and journalism at The Voice.
• 11:20, 13:11 – Hamilton describes covering Tiananmen; the morgue story.
• 15:03–15:26 – War reporting in Ethiopia.
• 15:47 – Wes Anderson on Hamilton’s daily photographic “documents.”
• 16:37–18:24 – Hamilton’s path from Pratt to street photographer.
• 19:13–19:42 – Hamilton’s collecting habits.
• 20:03 – The challenge of candid street photography today.
• 21:19, 21:52 – Young on what he’s learned from Hamilton.
• 22:36 – Hamilton on making subjects comfortable.

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Notable Quotes & Memorable Moments

• James Hamilton:
  "We could invent our own stories, for one thing, which was fantastic. Whenever I wanted to meet somebody, I would basically invent a story or talk to an editor and say, why don't we do a piece about this person or that?" (10:15)

• Richard Goldstein (clip):
  “It’s this merger of art and journalism where one was not in charge of the other, but rather they were in constant clashing, constant dialectic... it had to work as journalism, too… as art.” (09:46)

• James Hamilton:
  (On Tiananmen images) “They immediately started kneeling down and unzipping body bags for us to give us evidence... I managed to get a bunch of pictures and we spirited that film out of the country…”* (13:11)

• Wes Anderson:
  “Every day I receive a photograph from James, and I put it in a special file, Hamilton’s. And it’s an incredible ongoing document of the times and places of his life.” (15:47)

• James Hamilton:
  (On subjects fearful of cameras) “People are, in a way, more guarded because they don’t know what’s going to happen to that image. It might wind up on the internet… So people are very wary of cameras in the street now, especially a real camera rather than a phone camera.”* (20:03, 20:30)

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Conclusion

Uncropped captures the life and lens of James Hamilton—a photographer whose quiet approach, keen artistic instincts, and passion for authentic documentation have made him a vital chronicler of both New York City and global events. Through conversation with director DW Young and reflections from collaborators, this episode celebrates Hamilton’s rare ability to blend journalism and art, and offers insight into both his craft and the changing landscape of photography.

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Transcript

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[Kate Hines]

This is all of it on wnyc. I'm Kate Hines in for Alison Stewart. James Hamilton knows how to capture a moment. His black and white photography is pretty distinct. He was a longtime staff photographer at the Village Voice, among many other places where he captured New York with his camera. From underground punk rock bands in the East Village to police raids at Tompkins Square park, each portrait is like a time capsule of a bygone New York era. But he also captured portraits of celebrities, like a young LL Cool J looking almost 3D in his signature Kangal cap and holding a boombox. And a long haired, barefoot Martin Scorsese looking contemplative on the couch. And Joni Mitchell clutching a tree trunk. And even Alfred Hitchcock laughing, yes, laughing in his suite at the St. Regis Hotel. But whether he's photographing a Hollywood a lister or an anonymous New York pedestrian who's just minding their business, James Hamilton treats each shot with care and humanity. A new documentary details his four decade journey as a visual storyteller, and it's called Uncropped. In it, we also hear from Hamilton's collaborators and longtime friends like director Wes Anderson and they salute James Love for capturing New York through photographs. Uncropped is out now at the IFC center and it'll start streaming on Apple TV and Amazon on May 7th. Joining us now in studio is photographer James Hamilton. Hi, James.

[James Hamilton]

Hi there.

[Kate Hines]

And also joining joining us is director DW Young. Hello, DW Hi. Before we get started, I just wanted to say, listeners, we would like to invite you into the conversation. We are talking to James Hamilton and D.W. young. If you have a favorite photo from his time at the Village Voice or you have a question about street photography, how does he get all those photos, give us a call. 212-433-9692. That's 212-433-WNYC. You can also share your story with us on social media, Instagram, Twitter of it, wnyc. Dw, let's start with you. Do you remember the first time you saw James's work?

[DW Young]

I don't. I know I saw it in the observer and I certainly had seen it in the Voice before that in some form or another and in other, you know, various publications. I do remember there was a cover you did for, I think, Spin magazine of Sting standing on some rocks at the, at the, at the ocean, at the beach with a bathing suit on in Montserrat. Yeah. Okay. And I remember that from being a kid. I was like, oh, I've totally remember that cover. But no, I'd seen that work. But I hadn't really fully appreciated the range of what he had done initially.

[Kate Hines]

What made you want to bring his.

[Interviewer]

Story, his work to life?

[DW Young]

Well, it really started with our producer, Judith Mizracki. She and I often work together. We're also married, so it's double producer kind of relationship. But she and James, however, had worked together in the past at the New York Observer. She was the photo editor there for a couple of years around 2000, 2001. So she knew James and appreciate all the work he had done there. But she had also not seen that larger body of work that preceded that and at the Voice and at the other publications and his street work and the set work. So during the lockdown during COVID James joined Facebook and started posting photos for friends while he was spending a lot more time, I think, then digitizing work and looking back at his, you know, his archive. And so Judith started seeing a lot more and she was really, you know, blown away by it and started showing me some of it and we started talking about it and she threw out the idea. What about a documentary about James and his work. And so I like the idea, and I like the work tremendously. So I sort of had to think about what that would be in terms of as a movie, because that's, you know, the work could be great, but how does it work as a film, you know, portraying James and his career? So I think as we thought about the set work and then also, most importantly, the journalism and how much James had done as a photojournalist and how that was tied into the aesthetic of his photography and the history it captured, and in particular, the publications he had worked at that expanded our concept of what the movie could be. But then it was really meeting with James, talking to him about it and hearing what he had to say in the stories and kind of behind it all and just the kind of person, you know, he was. And we got along, I think, really nicely from the very beginning, and he was open to progressing from there.

[Kate Hines]

How did that progression happen?

[Interviewer]

Like, when did DW just say to you, hey, I want to make a film about you?

[Kate Hines]

Or did he have to warm you up a little bit?

[James Hamilton]

I think Judith got in touch with me first, and I. When the pandemic started, I started posting pictures on Facebook, which I had never. I'd never used Facebook, but it was a good time for me to look back and give myself a job and also entertain my friends. The job would be to basically digitize my film and get it in shape, because I'd been on this treadmill of working for public. Well, I was a photographer for 58 years, but I started over 40 years. I was on five different staff jobs, so I had an enormous amount of work that I had to contend with if I was going to go back and digitize it and get it in shape, get it in order. So that gave me that opportunity. And so Judith. Yeah, Judith, contacted me and said, what do you think about a film about your work? Which was stunning in a way, because I had never considered it books. Yes. As a matter of fact, I was kind of knocked out of the game in 2009 by being run over by a rather large Cadillac. Cadillac Escalade. And so I was laid up for a long time with a leg injury. And so Thurston Moore, contact. Well, we were best friends or very close friends, and he came out with Eva Prinz to his wife to visit, and we were just talking, and he said, why don't we do a book? You're musicians. Of which I had many, many pictures, mostly from working at the Village Voice. So we basically spent the summer putting a book together. Which was great. So it's the only monograph I've done. I did do a book on pinball in 1976. I was basically slave to the subject of pinball and traveled the world photographing pinball for a Christmas book, which turned out to be on the Times bestseller list. I mean, not bestseller list, but best Christmas books of the year kind of thing.

[Interviewer]

I'd love to talk a little bit about your work with the Village Voice, which is, you know, I think, where.

[Kate Hines]

A lot of people know your work best. Were you there for over two decades?

[James Hamilton]

Yeah.

[Kate Hines]

How did you land the gig?

[James Hamilton]

Well, I started. Started working there on a freelance basis for a while, a couple of years. And then they just said, how would you like to be the staff photographer? So that's how that happened. I had. Before that, I had been at two other publications. So I've had. I've been on staff for five. On five different publications, which was an incredible gift, as you can imagine, to be working that much and not have to hustle. I was salaried. So I was working every day for basically 40 some years. But the Voice, yeah, it was a fantastic opportunity because I was working on doing all kinds of things and again, working every day, virtually.

[Interviewer]

The Voice is a really special place, you know, for those of us who.

[Kate Hines]

Have lived in New York for a long time and, you know, remember its heyday.

[Interviewer]

And I wanted to play a clip of the film that sort of captures that.

[Kate Hines]

This is writer Richard Goldstein, who was one of your collaborators during that time.

[James Hamilton]

He was an editor and a writer.

[Interviewer]

Oh, great.

[Kate Hines]

Let's listen.

[Richard Goldstein]

It's this merger of art and journalism where one was not in charge of the other, but rather they were in constant clashing, constant dialectic, the two elements of the paper. So you could be as artful as you wanted to be, but it had to work as journalism, too. You could be as journalistic as you wanted to be, but it had to work as art.

[Interviewer]

Is that your sense as well?

[Kate Hines]

Do you agree with that?

[James Hamilton]

Oh, yeah. Because, I mean, we could invent our own stories, for one thing, which was fantastic. Whenever I wanted to meet somebody, I would basically invent a story or talk to an editor and say, why don't we do a piece about this person or that? So we weren't. Nobody was really allowed to be a hack because most of their ideas were. You know, everyone let them run with it. You know, all the editors would let people run with their. These ideas and that they would just come up with based on what was happening immediately in town or something. That had nothing to do with anything that was happening in town. So it was, it was an incredible gift where people had an enormous amount of control over their work. So given that it would be hard to, you know, not think of it as some sort of art.

[Kate Hines]

What was one of your most memorable.

[Interviewer]

Assignments at the Voice?

[James Hamilton]

Well, probably going to China during Tianmen Square when it all happened. Actually memorable in the sense that it was, you know, obviously important and far reaching story, but also the fact that the Voice would actually send us to China with an interpreter. So Joe Conison and I had been asking them for a long time to let us go, which is not so absurd because they had sent us to the Philippines twice during the Marcos overthrow. So once to cover Coria Aquino. And then when Marcos was overthrown, they sent us right back. So that was also pretty amazing. But we got there just as it all happened and linked with some students there who gave us bicycles to ride around. And consequently we had more access to more things because we were underground on bicycles, essentially.

[Interviewer]

I want to pick this thread up in a moment.

[Kate Hines]

We just have to take a short break. We will be back with more with director DW Young and photographer James Hamilton right after this. This is all of it on wnyc. I am Kate Hines in for Alison Stewart and we are talking about the new documentary Uncropped, which is about photographer James Hamilton, who joins me in studio today along with the Director of Uncropped, D.W. young. Now, just before the break, we were.

[Interviewer]

Talking about Tiananmen and I don't want.

[Kate Hines]

To spend too much time on it.

[Interviewer]

But the thing that I did not.

[Kate Hines]

Know was that you broke into a.

[Interviewer]

Morgue and took some of the first photographs of the death toll.

[James Hamilton]

Yeah, it was a makeshift morgue. It was a warehouse near a hospital and it was guarded, but not well guarded because somehow we got in with the help of students and it was at night. We rode through the dark on our bicycles, broke in, and they immediately started kneeling down and unzipping body bags for us to give us evidence. And I had to use a flash to take pictures because it was pitch black and I was afraid that would give us away. And it actually did. Eventually somebody shouted that guards were coming, but I managed to get a bunch of pictures and we spirited that film out of the country with some couriers. So while we were in China, pictures of dead students appeared. One appeared on the COVID of the Village Voice. So the evidence was there and I don't think anyone ever anyone else got it that I remember.

[Interviewer]

Did you know that Story I did not.

[DW Young]

But that was one of the stories, I think, when we first met with James, that he recounted that kind of blew us away and really hammered home, you know, the power of some of a lot of the work that he had done, too. And that it was not just New York as well.

[Interviewer]

Right. Again, that was something I didn't know before I saw the documentary, was how.

[Kate Hines]

Well traveled you were. You basically traveled the world.

[Wes Anderson]

Yeah.

[James Hamilton]

Grenada, that war in quotes, and the Philippines, as I mentioned, and the Caribbean, Lots of war zones. And the Chinese experience led to the London Sunday Times asking me if I would go to Ethiopia to cover the war there, which was probably the most harrowing thing I ever did because we were under fire constantly, and I had never been in an experience like that.

[Interviewer]

Wow. I'd love to talk more about that.

[Kate Hines]

But I also want to make sure.

[Interviewer]

We talk about your work in New.

[Kate Hines]

York, which is so important as well.

[Interviewer]

And your love for the city and the people here really comes through in it. And I wanted to play a clip from one of the producers of the film, filmmaker Wes Anderson.

[Kate Hines]

Describe your work.

[Wes Anderson]

Every day I receive a photograph from James, and I put it in a special file, Hamilton's. And it's an incredible ongoing document of the times and places of his life. But when I think of New York, you know, my life here, James was always a part of it. I have a lot of experiences of crawling into that jeep and buzzing around this place. Not a comfortable way to get around at all, but you can get a lot done.

[James Hamilton]

Most of my history is living in New York, and, you know, the people that pass through are the portraits. I think that's what I've done mostly is document my life in New York. It's like a diary, really.

[Interviewer]

I love that explanation. But is that what. What's that impulse that makes you want to document your life?

[James Hamilton]

Well, it. It's. I was an art student at Pratt before I ever picked up a camera. I wish I picked it up long, long ago. But, yeah, I was about 20 when I first picked up a camera I was working for. I got a part time. I mean, not a part time. I got a summer job working for a fashion photographer. And it was after my second year of Pratt, and so I was working for him in the studio. But what I loved doing was borrowing his camera and cameras and walking the streets and taking pictures. And that's how I discovered what I really, really wanted to do in life was make pictures and basically record, maybe document my life in New York through pictures in the street. Really. And so that's how it all began. And that's, you know, I didn't know what I was going to do with that. You know, I didn't know how I was going to proceed with that. So after I never went back to Pratt, I stayed with him for two years. Pretty much learned what I could learn in the studio, but I didn't want to be a studio photographer really at all. But I didn't know what I was going to do. So I wound up hitchhiking around the country for five months, taking pictures all over the States. So I knew that I was probably going to be some sort of journalist if I could be. But I also loved doing portraits, So I didn't know how I was going to combine it all. But I finally figured it out.

[Kate Hines]

And you refer.

[Interviewer]

You say in the documentary that you love artifacts, you collect things like flip books. And I'm reminded that your last documentary was the story about booksellers and the economy of old and new books. And it seems like there's a through line there between the two of you and the way you look at objects in history.

[DW Young]

James is a little bit of a collector in that way, I think, certainly the. The reality that the Village Voice and these other publications have now become historical objects as printed matter and are not, and most significantly, in the Voice's case, not really digitized and available as archives, which I think, if there's any that's, you know, something of tremendous value that hopefully will, you know, will be digitized soon. So I think that was a tie in for sure.

[Interviewer]

Yeah.

[James Hamilton]

I am a collector. I am a collector. Well, two things, really. Movies. I have thousands of movies.

[Interviewer]

When you say you have thousands, how do you keep them?

[James Hamilton]

I keep them in two places. I have a house. I have the apartment here. And I made copies of everything for my house in East Hampton. But I have an enormous number of photo books, too. That's the other collection I have. Yeah.

[Kate Hines]

I'm curious how you.

[Interviewer]

One of the things you talked about in the film that really struck me was how, you know, years ago when you started photography, you could capture someone sort of unguarded. And now people, you know, they see a camera, and they immediately, you know, they think selfie. They're trained. They pose. You know what. How do you feel about that?

[James Hamilton]

It makes life. It makes shooting in the street a lot more difficult. But plus the fact if people aren't taking pictures with the cell phones, they're looking at their cell phones. So there's not a lot of the street action. Is limited, shall you say? And so that's one thing. But I would be shooting film if I could afford it, I'll tell you. Because I still love the process of shooting film. Digital, you know, allowed me to shoot color because I could never afford color film, and I never processed color film, and I had to process everything I ever shot anyway, so. But, yeah, it's. It's difficult. It becomes difficult because people. People think that people are, in a way, more guarded because they don't know what's going to happen to that image. It might wind up on the Internet. Who knows where it's going to wind up? So people are very wary of cameras in the street now, especially a real camera rather than a phone camera.

[Interviewer]

Yeah, we just have a minute or so left, but, dw I'm wondering what you, as a filmmaker, have taken away from your time with James, like how.

[Kate Hines]

You are going to approach your next documentary.

[DW Young]

Well, I think I learned a lot from James, which is a great pleasure. I mean, I think I learned a lot aesthetically in terms of, you know, making images. I mean, I'm not a photographer, nor really a cinematographer, but in terms of thinking about composition and lighting and all that, I mean, spending that much time with James's work, you can't help but learn a lot. And I think, you know, as why I learned how much fun it is to make a movie with James, as other directors have, because we got to talk about movies all the time, and that's what we did. And that was. That's a wonderful way to do it. And I also just think, you know, as Michael Daly kind of talks about at the end of the film, James, his work ethic, his ethos and all that, you know, it's, I think, very compelling. And so seeing how James works, you know, that's also an inspiring aspect of making the movie with him.

[Interviewer]

Yeah. And watching, you know, hearing how people describe how you make subjects comfortable almost by your lack of, you know, you just sort of like, seamlessly move into.

[Kate Hines]

A scene and there's not a lot.

[Interviewer]

Of fuss, and you're quiet and thoughtful. And I think that that's an approach that I hadn't thought a lot about before. You know, just being the observer who then documents was really interesting.

[James Hamilton]

Well, it could be that people are used to a photographer banging away the minute they come into the room, but it was never like that. So I actually talked to people much more than I've took pictures. So I think that helped a lot with just easing the situation, which could be, you know, routine for a lot of people.

[Kate Hines]

The film is called Uncropped. It is a documentary about the work of James Hamilton and directed by DW Young. It's playing now at the IFC theater and it will be streaming very soon. Thank you so much for joining me.

[DW Young]

Thank you so much.

[James Hamilton]

Thank you, King.

[Kate Hines]

And that is this hour of all of It. Coming up next, you're gonna hear highlights from our recent book, get lit with all of it, conversation about the slasher novel. Also, FRANK waln, rapper. Stay with us.

[Interviewer]

This is ALL of it.

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