Blog Archives

Photography will never be the same

Over the last ten years it’s been hard not to be stunned by what’s happened to photography. Near my home is a billboard that’s pretty much owned by Apple. Recently it’s often been showing a simple black and white photo, credited to the current iPhone.

To say that the smart phone market has shaken up traditional camera manufacturers would be an understatement.

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Posted in Photography, Technology


Fretting about Uber

I bought a shiny new camera last week. It weighs 180 grams, about a half the weight of my old Leica M4. For 29 years the Leica snuggled happily under my shoulder. Since 2002 – when I gave up using it – I’ve had a mottled succession of computer-cameras, their lifetimes proportional to their cost and the associated guilt factor in replacing them.

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Posted in Artists, Photography, Technology


Un moment commun

Marie visited a few days ago with her photos place-marked into How Many Roads? Not so many minutes after we started going over them we were laughing so hard we were almost crying. Our parents must have been so proud of us! Here she writes:

Pourquoi ai-je été aussi touchée en voyant les photos de Jonathan?

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Posted in Québec
Tags: ,

Where there’s a crowd there’s a photo

I’ve always liked photographs of crowds. Cameras are great at recording a lot of detail quickly and for me they give a way of studying the people, and seeing how I do (or don’t) fit in. I remember when I first came to Quebec I took so many pictures of people on the street,

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Posted in Mexico, Photography, Social Documentary
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Minor White

From Fall, 1970 through the following June I was a student of Minor White’s. Though I was chronologically an undergraduate he placed me in his graduate program. It’s people from that class that you see in the circle above.

If history is written by victors it also contains a good measure of current social mores.

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Posted in Artists, Woodstock


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How Many Roads? is a book of photographs by Jonathan Sa'adah, available for order, offering an unglossy but deeply human view of the period from 1968 to 1975 in richly detailed, observant images that have poignant resonance with the present. Ninety-one sepia photographs reproduced with an introduction by Teju Cole, essays by Beth Adams, Hoyt Alverson, and Steven Tozer, and a preface by the photographer.
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All material © 2016 Jonathan Sa'adah no use without written permission