By Jim Linderman from Dull Tool Dim Bulb
The mounted dashboard camera, as we all know from “America’s most horrible ruckus” on the flat screen, is de rigueur today for every cop car. Sideswipes, weaving drunks, runaway crackheads…we see them all through the electronic eye of the police car windshield. But did you know the apparatus was invented by a Weegee like ambulance chaser named Mell Kilpatrick who took accident photos for Los Angeles Newspapers in the 1940s and 1950s?
The mounted dashboard camera, as we all know from “America’s most horrible ruckus” on the flat screen, is de rigueur today for every cop car. Sideswipes, weaving drunks, runaway crackheads…we see them all through the electronic eye of the police car windshield. But did you know the apparatus was invented by a Weegee like ambulance chaser named Mell Kilpatrick who took accident photos for Los Angeles Newspapers in the 1940s and 1950s?
Mell Kilpatrick was a self-taught master photographer with Weegee skill and fortitude. In fact, the precious few times his name is mentioned, Weegee’s often follows.
Living in Orange County when it was literally a county of oranges, Mell was attracted to photography young and certainly had the right eye. In the only photo I’ve found of him, he is posing as if squinting into a lens finder. Like a Weegee in sunshine, he traveled light…camera, flash, tripod and a trench coat when the road was slick. But he also had a camera mounted on his dashboard pointing through the windshield These photos were shot with it. Like a hard-boiled P.O, whenever California blood was spilled, he was there. Crime, Crash, Insurance Fraud…he squinted through them all in black and white. A James Ellroy with a speed graphic camera and a police-band radio.
Mell is probably best known for the iconic photo “It’s lucky when you live in America” which depicts a car overturned in a field after having crashed through a billboard advertising a mountain fresh brand of beer. These photos of Mell’s skid marks, so to speak, are mild compared to the gruesome carnage shown in his work (and which should be shown to every driver using their cellphone)
In an extraordinary article which draws comparisons with the car crash silkscreens of Andy Warhol and the car crash fetishists of J. G. Ballard, writer Nathan Callahan attributes Kilpatrick’s vision to those he saw while working as a projectionist at the Laguna and Balboa Theaters in the late 1940′s, where he watched film noir masterpieces while waiting to change the reels. He learned well and got used to the dark. All these photos have his identification stamp or notes, but only one provides the time: 5 am.
Kilpatrick’s negative collection, well organized and labeled, sat for 35 years until being turned up by photography collector and dealer Jennifer Dumas. She compiled them into a coffee table book “Car Crashes & Other Sad Stories” in 2000 published by Taschen, linked below.
Remarkably, there was another side to Mell. As Orange County turned into Disneyland (literally) Mell turned his camera to the construction. Soon he was loaning his darkroom to other Disney photographers, and Uncle Walt himself granted him full access to the construction site. Mell’s granddaughter has published no less than five books of his early Disneyland photographs. As Callahan reports, she “sold the most gruesome ones…they brought a bad vibe to the house.”
Forensic Photography would seem to be a growth industry, what with all the teenage texting going on at 75 MPH. It was probably a good gig for Mell…even if most of them seem to have been taken at 5:00 AM.
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