The story of John Baer's photographic journey is a captivating tale of serendipity and innate talent. In 1945, during his military service, Baer stumbled upon a Leica camera, a tool that would shape his future as a photographer. This chance encounter, coupled with his natural instinct, led to a remarkable body of work that has only recently come to light. Baer's photographs, taken between 1945 and 1954, offer a unique perspective on the post-war world, capturing the energy and chaos of Europe and New York City. What's truly remarkable is that Baer, by trade a journalist and public relations man, had no formal training in photography. His work, however, showcases an extraordinary understanding of light, composition, and timing, as if he had absorbed the essence of the medium instinctively.
The discovery of his negatives in 2021, decades after his death, adds a layer of intrigue to his story. His son, Andrew, and his wife, Megan Moynihan, unearthed a treasure trove of over 4,000 negatives, prints, and contact sheets, providing a comprehensive view of Baer's artistic evolution. The book, John Baer: The Extraordinary Ordinary: A Memoir in Photographs, 1945-1954, is a testament to this hidden legacy. It presents two distinct chapters, one set in Europe and the other in New York, each united by Baer's distinctive style and sensibility.
In Europe, Baer's photographs capture the political tensions of the time, such as Communist Party posters advocating for US withdrawal, and the physical remnants of war, like boys playing with toy guns in Franco's Spain. His German cityscapes, including a Munich junction clogged with cyclists, offer a unique glimpse into the reconstruction process. The war's lingering impact is palpable throughout these images.
Baer's New York work, on the other hand, is more playful and technically ambitious. A shadow study shot, where a lone pedestrian's silhouette is elongated, showcases his interest in formal experimentation. A double-exposure image, titled Louise Twice, featuring his wife as a ghostly figure against a bustling New York street, is a testament to his technical curiosity. These photographs demonstrate a level of sophistication that belies the lack of formal training.
What's most impressive about Baer's work is its consistency and maturity. There are no signs of a learning curve or obvious failures, suggesting that his instinct was not just a lucky break but a profound talent. The book's production, by Paper Cinema Editions, under the creative direction of Yolanda Cuomo, and the essay by Alexa Dilworth, ensures that this long-overdue publication receives the serious treatment it deserves.
John Baer: The Extraordinary Ordinary: A Memoir in Photographs, 1945-1954 is a must-read for photography enthusiasts and historians alike. It not only showcases a remarkable body of work but also challenges the notion that formal training is essential for artistic success. Baer's story is a testament to the power of intuition and the enduring impact of a single, serendipitous moment.
