|Chris Buck, Toronto 1988|
In retrospect, I was fortunate to meet Chris when I did; he was studying photography in school, and making the first steps in a career that would take him to the success I think both of us dreamed of at the time - a home in Manhattan, a portfolio full of famous faces and a client list that included dozens of major magazines and nearly as many major corporations. At the time, though, we were "just kids," as they say - Chris in the basement of his parent's house in the west end, me in a dingy little apartment between the city's main drag and the gay ghetto.
|Me and Anton Corbijn, Toronto 1987, photo by Chris Buck|
|Chris Buck, Toronto 1988(?)|
"You know how this sounds, don't you, guys? No, I won't."
|Chris Buck, date unknown|
As much as we were inspired by Penn and Corbijn, Richard Avedon and Joel Peter Witkin and whoever else we aspired to be back then, we were just as inspired by each other, and happily shared every bit of information we acquired about cameras and film stock, photo labs, publicists and photo editors. For a while he was even my boss, working as photo editor first at Nerve, the sloppy but energetic indie-rock magazine where we met, and then at Graffiti, the music slick where most of the Nerve staff ended working.
|Chris shoots my roommate Sally Lee, Sunnyside Beach|
If you know anything about American photography today you probably know about Chris. If you follow U.S. politics, you only need to say that he's the guy who shot the "crazy eyes Michelle Bachmann" portrait for Newsweek. He has - and I think he'd take this as a compliment - overcome our rather crippling weight of shared influences to develop his own, very recognizable style, which will (I think) one day become part of the visual shorthand we'll use to remember the political, social and cultural moment we're struggling through now.
|Chris and Olive Buck, Toronto 2012|