The remaining portrait was "the B-side." As pictures begin to fade and her retirement looms, Dorfman gives Errol Morris an inside tour of her backyard archive. But it wasn’t until 1980 that Dorfman found her ultimate medium: a rare large-format camera devised by the Polaroid Corporation. The B-Side begins with Dorfman’s personal narrative of her struggle to find an identity as a young woman coming of age in the 1960s. Oops! “The B-Side: Elsa Dorfman’s Portrait Photography,” Mr. Morris’s new film, is a feature of modest length on a subject of seemingly modest import, particularly relative to those other movies. Dorfman … Director: Errol Morris Sign up to receive the weekly email newsletter with showtimes, events and coming attractions. ", Dorfman ultimately reveals a neglected section of her archive in The B-Side. Something went wrong while submitting the form. Dorfman, with whimsical charm and wit, gives her longtime friend a tour of her backyard garage-turned-archive. She kept the other — hence the movie’s title. Elsa Dorfman passed away on May 30, 2020. ©MMXX. It is soooooo very analog! Because of the nature of the instantly developing film, Ms. Dorfman would take only two shots of her customers, and allow them to choose which one they wanted to leave with. Now, she reflects, her B-sides look "perfectly wonderful.". The B-Side is a loving portrait of a unique artist too often overlooked in considerations of 20th century photography. 120 E. Green Street. Map It. Portrait photographer Elsa Dorfman found her medium in 1980: the larger-than-life Polaroid Land 20x24 camera. Dorfman’s approach to portraits—large or small—is simple. … American photographer Elsa Dorfman, known for her intimate large-scale portraits of well-known figures including Bob Dylan, Allen Ginsberg and Faye Dunaway, died last Saturday at age 83. During a montage of photographs of Ginsberg, he is heard in a late-’50s audio recording reading his great poem “America.” Lines like “America when will you end the human war” and “America why are your libraries full of tears” resonate with a particular poignancy even today, as does “America when will you be angelic.” “The B-Side” is a portrait of a genuine American angel. Cinemapolis Thank you! Programming at Cinemapolis is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Later, though, as she pauses in her descriptions of the pictures she pulls from her files, she speaks of “how many people are dead, and how many people struggled,” and you can feel how her work has revealed some truths about that. Elsa DORFMAN (1937-2020), American portrait photographer. Instead, she and her camera celebrate the people who step into her studio—their surface appearances, personalities, idiosyncrasies, and everyday triumphs. In 1974 she published “Elsa’s Housebook — A Woman’s Photojournal,” a milestone in both American photography and feminist art. Dorfman was bewitched by the scale and clarity of this magical camera. NEON Rated, LLC. “The Fog of War,” in 2003, featured the ruminations of Robert S. McNamara, who oversaw a large part of the Vietnam War, while “The Unknown Known,” in 2013, examined Donald H. Rumsfeld and his part in the war in Iraq. It revels in the intimate beauty of Dorfman’s portraits and in her singular appreciation for the ordinary aspects of human life. Part of Mr. Morris’s reputation as a great documentary filmmaker is derived from his friendly-seeming but pressing interview technique, but here, when he’s heard, he speaks to Ms. Dorfman as a friend, and she responds to him with warm reminiscences of her beginnings as a photographer. “Absolutely not,” she says with a laugh. Dorfman was the subject of the 2017 documentary film by Errol Morris, titled "The B-Side: Elsa Dorfman's Portrait Photography." All rights reserved. Like the flipside of 45s, Dorfman’s B-sides are hidden treasures when revisited. She always took at least two 20x24s per portrait session, but her clients only purchased one. When a colleague presented her with a Hasselblad camera on a whim, Dorfman quickly declared, "I’m a photographer!" R.I.P. You don’t need to walk around with a picture of it. For the next thirty-five years she captured the "surfaces" of those who visited her Cambridge, Massachusetts studio: families, Beat poets, rock stars, and Harvard notables. She speaks of living in New York City in the late ’50s as a single woman, and of working as a secretary at the publisher Grove Press, where she met the poet Allen Ginsberg, a lifelong friend. Elsa Dorfman's home page is now at elsadorfman.com. "I think one thing about having all the pictures," she says, "is you sort of search for the narrative. For one thing, they’re 24 inches tall and 20 wide, produced by a 200 …

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