By Margo Davis. Foreword by Margaretta K. Mitchell. Published 2004 by Stanford General Books, an imprint of Stanford University Press. 94 pages; 60 black-and-white plates. ISBN No. 0-8047-4266-9; clothbound. Price: $65.00. Web site: http://www.sup.org .
Straightforward and sensitive to the range of the human condition, Margo Davis's black-and-white portraits have been a mainstay of American photography for decades. A former teacher at the Ansel Adams Yosemite Workshops(back when she was Margo Baumgarten), Davis' images capture their subjects unsentimentally yet with palpable affection and an emphasis on place and context.
This volume collects 40 years of her best work, with 60 superbly reproduced plates. The result is an exceptional sharpness of detail and richness of tonality to rival the originals. Indeed, it does not get any better than Davis' 2001 image of a contemplative Buddhist monk at Angkor Wat in Cambodia, his dark eyes addressing the camera and the Great Beyond all at the same time. Just as timeless is a 1970 photo of the Reverend George A. Weston in Antigua, who looks out at us from his sparely furnished surroundings with a sage serenity and from behind a white beard that gives him the look of a black Moses.
Clearly, Davis wins the trust of her subjects, which seems to impart to them a relaxed and hope-borne facing toward the camera. Where the portraiture of Arbus or Avedon often located disjuncture, alienation, or anxiety, Davis' captures a common humanity, but never a saccharine one. A Nigerian Muslim holding his baby grandchild is an image of paternal pride and love that transcends its moment, just as poor Antiguan children carrying boxes of mangoes on their heads have the mischievous look of children in any schoolyard. Likewise, a sugar-cane worker in the West Indies of 1970, or a Tahitian rower wearing a militant Islamic wrap on his head in 2001, with fierce tattooing on his breast, shoulder, and arm, signal a universal quality of male pride and the dream of some better life.
As for the many images of women--whether the youthful beauty of a Nigerian Faluni girl looking off to the side with great self-possession, or the elderly Hungarian "Aunt Justica" amid the rustic wood and corn cobs of her pig farm--they covey poise and purpose in myriad ways. And Japanese girls dressed for a tea ceremony are icons of youth connecting comfortably with ancient tradition.
Davis does not often push for a virtuoso effect--most of her images capture people at mid-range, in the context of their real lives and surroundings. But when she strives for something special, she pulls it off unaffectedly, as in her beautiful portrait of a dark California girl, Anika, seen close up with her thick curly hair seeming to wave in the wind. Davis writes that she actually took the shot from above while the girl was lying on black cloth with her hair spread to the side. The photo's controlled suggestion of night and wind is nothing less than masterful, and totally unpretentious. In fact, the image serves well as the book's cover photo, a perfect emblem of Margo Davis' sharp focus on the global variety of Truth and Beauty.