A Passionate Woman in Seattle

We Are Juxt Rewind: This article was originally published September 7, 2012

Instagramers Seattle Spotlight – Nicole Lock @passionatewoman by Rachel S.

Rachel’s Intro:

I’ve enjoyed Nicole’s photography for a while now, and I think what draws me to her work is the mood and emotion she captures in places that are so familiar to me.  Likewise, her images of places I’ve yet to explore leave me wanting more and feeling almost as though I’ve been there…

R:  Rachel  N:  Nicole

R:  Tell us about yourself:  Are you from the Seattle Area?  I noticed in your feed that you recently graduated from UW.  What did you study?

N:  I was born in Spokane and lived there until I was 16 when my mom moved us to Redmond. When we moved I skipped high school and went straight to Bellevue College. At first, I didn’t have many friends besides my younger sisters, my car and a camera.  That’s where my love of photography really began. I guess you could say my first Seattle best friend was my camera. At the same time another passion began to grow as I began taking Sociology classes focusing on feminism and activism. Eventually education led me to UW where I majored in Social Sciences with a focus on Gender, Race, and Ethnicity studies.

Currently, I’m taking a year off to just be, take the GRE, and apply to graduate school. During my break I want to continue focusing on my interests and begin merging photography and feminism in to something new and unique. I’m thinking of some self-portraiture ideas that would make a statement about my beliefs and fears regarding the state of the world and views on gender and sexuality, but it’s quite a challenge because I usually never plan photos out. Traditionally, I just follow my eye.

R:  This is one of my favorite shots from Seattle’s new Great Wheel… why did you choose this perspective over the more common up-shots of our newest local attraction?

N:  As I said, I’m really not one to plan out a photograph; I just let them happen. My boyfriend and I were riding the wheel at sunset for the first time. When I looked out across the network of metal structure, I was fascinated by the contrast between angled firmness and the soft rolling landscape behind. It felt like the frame was leading my eye to the beauty behind it, as if it were a railroad. To me, this perspective alludes to my belief that man can make nothing as beautiful as Mother Nature but rather only help lead you back to her glorious landscapes.

R:  This particular image will be on display at the IGers Seattle / We Are Juxt mobile photography exhibit at Neptune Coffee this month.  We selected more than 100 photographs from local mobile photographers based on the theme “summer vibes.”  To me, this photo embodies Seattle ‘Summer’ up until about the first week of August. 😉  How do you stay inspired through all of our gloomy weather months?

N:  Haha! Funny thing is, I actually went on this ferry ride looking for inspiration. It seems that Seattle gloom causes us to do well in finding the brightness around us. This photo was taken on a dark Seattle day but I chose a brighter more cheery edit to bring out what light there was. Sometimes when you can’t beat the weather, the dreariness becomes its own source of art. There is still a lot of freedom when it comes to rain and darkness, you just have to learn to work with it in unique ways. Though, the upside to always dealing with grey weather is that when the sun does finally come out, I am filled with inspiration and excitement. You know how crazy this city gets when the first sunny spring day occurs – everyone gets outside and soaks it in! You learn to appreciate the sun so much more.

R:  What’s the one photo editing app you would be lost without, and why do you love it?

N:  Hmm… It depends on the month really. I tend to get obsessed with one app at a time, though I usually process an image with more than one app. The first app I fell in love with, which I still use quite frequently, was Camera+. Its ability to capture photos quickly while processing them in the background makes it very useful. For a while I was obsessed with Phototoaster as I enjoyed its bright highly contrasted filters and how easy it was to make and save your own filter designs. Snapseed is a constant love of mine though I definitely didn’t get obsessed with it. I prefer it mostly for its selective adjustments where you can choose one part of the photograph to edit. Most recently, I’ve been in love with Picfx and Photoforge2. Photoforge2’s Pop! Cam is a lot of fun and allows for great creative freedom while Pixfx is great for its lovely preset filters providing the opportunity to quickly edit and transform an image.

Photo Credit: Alex Bergh

R:  What came first:  the iPhone or the Rebel? What is it about photography that keeps you shooting?

N:  I’ve been shooting with a Rebel since I was 18, so four years. I only got the iPhone a few years ago. Now I mostly shoot with my Rebel and then process through my iPhone. I also just recently got an iPad and processing on that thing is AWESOME. I feel like I don’t really have a choice in whether I shoot or not, I just have to! Sometimes it feels like a craving to take pictures is so strong it radiates from my chest – it’s kind of ridiculous. The iPhone saves me in that regard because I always have it with me. New apps, lenses, toys, and traveling whenever I have the chance help keep me inspired. I feel it’s impossible to go to a new place without taking at least 200 photos.


R:  What are your personal pros and cons to shooting with iPhone vs your Rebel?

N:  I love my Rebel and my iPhone but they both do very different things for me. The Rebel allows for more freedom, better ranges of my depth of field, long exposures, and lower aperture. It comes with a lot more creative freedom in those regards. The extra megapixels are quite nice as well. But it’s a lot more of a liability to carry around, it doesn’t just slip into your pocket, and those photos are stuck on there until I can get them home and on my computer. My iPhone on the other hand is just a photography machine. It takes lovely photographs, allows for me to process them with millions of different apps, and then upload and share them with the world. It’s just amazing when you really think about it. I really love them both individually but my favorite trick is using my iPhone and iPad for processing images from the Rebel.

R:  What are some of your favorite Pacific Northwest places to shoot?

N:  We are so blessed to live here aren’t we? There are so many places to see and capture. One of my regular spots, which is obvious by my Instagram feed, is Golden Gardens. That place always amazes me and I don’t think I will ever have enough photographs of the sunsets. Beyond Seattle, the Oregon coast is one of my most favorite places, but I don’t get there often enough. I just love the combination of lush forests, ragged rocks, sandy beaches, and tide pools. There is so much to photograph down there! I love the rivers in the Cascades and even the one’s on the Eastern side of the state. Green Lake is also a pretty frequent stop for me, it’s so close and one of the most spectacular city parks we have. Discovery Park is named very well, as there is a lot to discover and capture. Every time I go my photos look completely different than the last trip. Mt. Rainier is a fantastic place for photographers, but again I don’t get out there nearly enough. I also do a lot of camping outside of Ellensburg and it’s fun to shoot there because the trees, flowers, and landscapes are so different from this side of the state. I still have SO much to explore…

R:  I asked Nicole to shoot a special Northwest series for us, to tell us a little bit about what inspires her and why she chose these images:

N:  When I got this challenge I was very nervous about it, planning out photos is not my strong suit. Luckily I had a road trip planned to go see my dad, best friend, and my baby brother in Eastern Washington. When we started out I felt like the photographs I was taking were so mediocre… I got really worried about it. But once we got out to my dad’s home and started adventuring, things just came together. I have been so nostalgic for Eastern Washington summers. My childhood was filled with lakes, camping, swimming, boating and all kinds of outdoor adventures. The hot weather and the lack of people is just something that isn’t easy to find this side of the mountains. So I wanted to go with a soft edit that made the photos appear sort of dreamy, like something of the past. I used Photoforge2’s Pop! Cam and the Soft Optics lens with the washed out effect from the processing option. From there I used Fotor to add some more color.

N:  This trip was absolutely amazing. The photo of the power lines was taken on our way there, in the desert. I love the drive on i90 towards Spokane; it’s something I’ve done countless times in my life, as I’ve always had family on this side of the state. The photo of the trees and the clouds was taken at my dad’s property, which is as beautiful and relaxing as I attempted to capture. The last picture, of the river, was taken during a hike to some natural water slides out at Priest Lake. I haven’t had that much fun adventuring in a very long time. This series really reminded me of the nostalgia for childhood summers I feel every year. At least I could capture it.

Nicole Lock

Nicole is a northwestern native, and continues to believe it is one of the most beautiful areas in the world, regardless of where she travels. She spends most of her time working towards a future in education putting her time and energy in to studying. But, during those few moments of calm, she reconnects with the world through her lens.

IG username:  @passionatewoman
Hometown:  Spokane, WA
Current location:  Seattle, WA
Camera(s):  iPhone 4 and Cannon EOS Rebel

Love, Faith, & Magic. The mobile art of Erin Leight

Love, Faith, & Magic. The mobile art of Erin Leight by Todd L

“What is soul? It’s like electricity – we don’t really know what it is, but it’s a force that can light a room.” – Ray Charles.

This quote, like many others, accompanies the work of Pennsylvania mobile artist Erin Leight. Her eye for composition, combined with her ability to reach us on an emotional level, imbues her work with soul, and is presented with sincerity. Whether the subject matter is landscape, architecture, or still life, she has passion & patience, and accents the greater aspects of humankind.
I had the pleasure of getting to know Erin and ask her few questions about herself and her mobile photography. Here is her story.

Todd: Would you mind sharing a little bit about yourself, including how you got your start with mobile photography?

Erin: Since an early age, I’ve always felt it wasn’t truly a good day unless I created something new. My fascination with type began when my parents gave me a calligraphy set at the age of 8. I wrote and illustrated stories from an early age and realized how words could enhance an image, and vice versa. I collected strange and interesting trinkets and arranged them in still lifes just because it was satisfying. When I look back on my childhood, I realize it was the precursor for what I now do with my mobile photography.

I was formally trained in journalism and advertising copywriting. I saw it as a way for my creativity to be profitable. I wrote scripts for print, radio and tv ads and did voiceover work for a few years before realizing my heart was more in the creative design aspect of advertising. I bought a Mac, taught myself the basics of design and jumped headlong into freelance graphic design. Over the past four years I’ve built a successful custom wedding stationery design business.

As far as my introduction to mobile photography, a little over two years ago a friend said, “I found a great app you should try. Do you take a lot of pictures with your phone?” My answer was a firm, “No.” I downloaded the app anyway and was immediately pulled in by the concept of random and spontaneous creativity that could be instantly shared. Aside from one class in college, I had never dabbled in photography so I was a virtual newcomer to the genre when I began focussing on mobile photography.

I backed away from advertising copywriting because I felt there was a certain level of manipulation involved that I didn’t feel entirely comfortable with. I’m still drawn to the idea that reaching a target market is like solving a puzzle. But I feel like mobile photography allows an opportunity to connect with an audience through emotion and common interests… and allows one to make that connection with a modicum of soul and authenticity. I painstakingly labor over each shot with the hope that what I’ve created will touch people and be meaningful to them.

A Quiet Little Moment Hovering Between Winter and Fall

Todd: How would you say your style has evolved since the very first image you shared?

Erin: I rarely look back at my early Instagram posts, but your question prompted me to revisit and analyze a bit. I seemed to be concerned with composition from the beginning but I was all over the place stylistically. I edited only with IG filters for my first few months… so my style was very raw, primitive and exploratory at best. I snapped what I saw and tried to make it work.

I think my style has evolved to be a bit more refined and focused, with the intent behind each post being that I present something unique to the viewer. If I snap a shot, look at it and think “anyone could snap and post this shot,” then I don’t want to post it. There needs to be an element of something that’s uniquely “my world” in each shot, or it feels somehow unauthentic and unsatisfying to me.

There is not a Sprig of Grass that Shoots Uninteresting to me- Thomas Jefferson

Todd: How do you select objects to feature in your photos?

Erin: I always want the objects to have a little bit of soul, history and meaning to them… an air of timelessness. When I’m doing a word collage, I choose objects that fit the timeless mold, conceptually work and just feel right in the flow of the space.

Time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life.” – William Faulkner

Todd: Your images are often accompanied by quotations. How do those quotes play into the process of creating an image? Does the quote influence the image, or is it the other way around?

Erin: I always create the image first and seek out words that enhance the meaning of the photo and represent my mood at the time I worked on the shot. If I feel like an image is traditional or bordering on mundane, I tend to put pressure on myself to find words that will lend weight or a deeper meaning to the shot. (I think one of the best examples of making my caption work to fit the image is “Love” in which the V is a wishbone.)

 Love is measured yet organic, wishful yet wise. Love is about the grand scheme but, even more so, about the details.”

Todd: Although you’ve been focusing on still life more recently, your gallery consists of a great deal of nature and architectural shots. Did they become the catalyst/inspiration for later still life?

Erin: I appreciate the random beauty of nature and the orderliness of architecture. But each one is what it is. I began to feel less and less satisfaction out of shooting something that just is what it is and could be captured by anyone that chooses to shoot it. I get much more creative satisfaction out of manipulating natural and manmade objects to create a sort of orderly randomness.

“There are days when solitude is a heady wine that intoxicates you with freedom, others when it is a bitter tonic, and still others when it is a poison that makes you beat your head against the wall.” – Colette

Todd: You have a great command of the formal elements of art: line, shape, space, etc. In addition to being a designer, do you have a background in photography?

Erin: I took a basic art class in 8th grade, one introductory photography class in college, I’m a self-taught graphic designer and illustrator, so any command of the formal elements of art I’ve gained over the years has come from trial and error and sheer instinct. I think I approach photography with a designer’s sensibility. At the same time, I find that mobile photography is helping me refine my eye for detail in all areas of design. What I create through mobile photography combines all the things I love in design and is the most fun I’ve had over the course of my career.

“With faith and love anything is possible.”

The image above was created by Erin for a very special reason, and is a true example of the power of friendship and community. To find out more please view this link on Instagram and consider making a contribution.

“Where the spirit does not work with the hand there is no art.” – Leonardo da Vinci

Todd: What are your plans for the future with mobile photography?
Erin: I’m developing a line of stationery using my still life and collage work. My plan is to take it one step further and, once photographed, create framed three dimensional assemblages of the collages.

I’ve started doing commissioned collage work for individuals, nonprofit organizations and businesses. To be able to combine several of my passions and interests and venture down a new career path is an exciting prospect to me.

I’m looking forward to an upcoming collage project for an extremely worthy cause, Watts of Love (@watts_of_love) a global solar lighting nonprofit providing sustainable lighting products to poverty stricken regions in order to vastly improve quality of life. wattsoflove.org

I’m also excited about a mobile photography collage project I just completed for a major printing company that will be revealed at the end of April.
First and foremost I want mobile photography to be a creative escape for me, but I do think mobile photography can bridge a gap between marketing/advertising and artistic expression.

“There’s a bit of magic in everything.” – Lou Reed

The Other Half of #SundayBluesEdit

The Other Half of #SundayBluesEdit:  An Interview w/ Monica Izquieta by Rebecca C

I must first admit that I am biased towards @Izzylune.  I know her in the “real world” beyond the invisible Instagram walls, but it was her photos that first drew me in and made me want to know her, the woman, the person.  This is a powerful pull not to be underestimated.  With the glut of visual imagery we see all day, every day, to make someone want to know you with your images is  pretty powerful stuff.

Most of you know Monica as Izzy or just the incredible @izzylune. Her charm, wit and enthusiasm comes through in her every post and comment. If you haven had a chance to interact with her, you’re missing a level of intelligence and insight rarely found in the world of IG.  Initially, I “met” Izzy through the images she started tagged in my #sundaybluesedit tag. Her raw emotion was impossible to ignore.  Something in her beautiful huge blue eyes made me fall in love with her in a way that connected souls do. That sounds cheesy but, in her, I recognized myself. A younger me.

Izzy is alive with a spirit that draws people to her, so when I felt like the @sundaybluesedit needed a co-pilot I knew exactly who to ask.  After just a few days I felt as if I had known her all my life.  She has an undeniable passion for art, photography and all the emotions that come with the blues.  She’s also and amazing photographer in her own right who weaves fairy tale magic out of the most ordinary of daily scenes.  I’ve always wanted to know how she makes her magic…so I decided to ask.

Who are you and what you do in your real life?
In my real life I’m  a mother to the two lovely children often showcased in my gallery, an avid gardener, a glorified proof reader for local accountants and at one time, a fine arts major who loved getting her hands dirty.

Tell me about your love affair with mobile photography
My love affair with mobile photography happened really quite by accident.  I had been shooting with big girl cameras for roughly 7 years,  before that I tinkered with old school manual cameras, and by tinker I mean broke.  During that time, I shot mainly my children and landscapes, scratch that, I still only shoot that!

I’m admittedly a first generation iPhone user but I didn’t discover that my phone could create such amazing photography until probably my 3rd iPhone.  My ex-husband is extremely tech savvy. He was the one told me about instagram. We were on a car ride to Mystic, Connecticut, from that moment on I was hooked.  I started exploring IG into the wee hours of the night.  For years I felt bogged down by motherhood, unable to paint and really just uninspired. I believe at one point, I was so desperate for creativity I took up wreath making.  Instagram and iphoneography,  opened up a new world for me.  I’m glad I don’t make wreaths anymore.

What inspires you?
I’m inspired by a lot of things, nature being a huge one, humans, obviously, another.  I’m one of those people who stares too much and for too long.  In the event I witness a crime, I’m gonna give the cops everything shy of the person’s blood type.  I’m truly fascinated by people; their mannerisms, speed patterns, gaits and style.  I could people watch all day and have been known to do so. On more than one occasion I have sat inside of Grand Central station so long, even the bums were changing shifts.  Other inspiration comes from well-known artists, mainly painters, and then those I follow religiously on IG (who, in my mind, revolutionizing the way people view Photography as a whole).  I think the reason mobile art appeals to me so much,  is the challenge of creating superior images without the polish of professional cameras which seemingly, do a lot of the work for you- digitally speaking anyway.

Your images are overflowing with emotion. Palpable. Where does the need for sharing this honesty in such a pure way come from?
Oh, my talking about my images is a bit surreal for me.  I’m always my own worst critic.  In terms of the pictures though and whatever emotion is conveyed, I have to really say I’m a very animated, expressive, sometimes intense person in real life.  I tell stories and people just come closer.  I have my hands waving wildly and I’ve been known to do impersonations. I am very colorful.  So when I’m happy its clear as day and when I’m sad there’s no hiding it.  My mother says everything I’m ever feeling is easily read on my face and especially my eyes.  I’m not one for deception I think.  I’m honest to a fault really.  I put it all out there.  The emotion I desire with my pictures is rawness.  I have a few people I follow on IG that do  raw and deeply personal emotion so provocatively and gracefully.  I thirst for that.  I think in terms of portraits it’s so much greater to see and feel simultaneously.   When I was in high school I participated in a coveted poetry competition and poetry became my entire life for years on end.   It was during this time that I explored emotion even deeper.  I had always been obsessed with art, so much so that it disturbed my academics, but in the end the poetry was what actually prepped me for photography.

I’ve observed an almost surreal like magical fairy tale like quality in your images. Can you talk about where that comes from and why that imagery appeals to you?
This perception makes me smile impishly. The fairytale quality you speak of is not intentional. Actually, Im elated to hear my images all have something in common I feel like I’m often falling all over the map.

However,  when I take a picture, thankfully, I  know immediately what corner possesses something unique.

I know I’m a beauty seeker.  Maybe that’s where the dreamlike quality comes from? I don’t have an appetite for grim, grungy, gory or dark. Actually, I’m easily disturbed.  I guess this is why I don’t watch the news or tv at all. I do know I get excited by the most minute details in everything  from an inflection in a persons voice, to the way they place their hands, to shadows, lines etc. I obsess about these things in my daily life. It’s like music for me when I discover a song that I like…I play it a thousand times in a row.   When I love…I love deeply whatever that thing is and I want everyone to see it.

Photography is the only thing that allows me to feel comfortable exposing the tender aspect of myself.  It’s with the pictures I want to be boundless.
Photos:
Landscape: like all my photos this was shot with hipstamatic…with a relatively uncommon combination of Mabel and Alfred infrared.  I wanted that deep red currant color
Against matted blue skies.

Lily in the orange chair.  I shot this with tinto and float I admittedly have an affinity for floats delicious tones although it’s speckled vignette makes me crazy so I’m always retouching it out or hiding it the best I know how.  I’m not one for over-editing.  Her pensive glare and Alice in wonderland charm drew me into his moment.

The hands:  this moment happened so extremely quickly I shoot with watts a lot so it defaulted to that…i love how crisp and dramatic it is.  Tender moments between my children are slim sadly they bicker a lot but in this second of passing raspberries the world melted away when I saw her arm naturally fold behind her and those tiny hands extend.

Black and white selfie.  Oh the light in my family room is amazing…I have at least 50 plants in there,  it is my refuge from the world.  I sit in this big 1960s golden-yellow chair constantly and watch the clouds roll by.  This afternoon I adjusted the sheers on the doors and saw something I wanted to capture so I set up my gorilla pod set it to tinto and black keys super grain and measured myself into the frame just so then asked my daughter to press the button three times.  So actually….this is a collab.  I wanted to overcome my discomfort of profile portraits I never liked my very Italian looking profile but alas it’s very much me and if you can’t love your face by 30 then you never will.

I want to thank Monica for her time, her boundless sense of humor and endless support.  You can join Izzy and me at @sundaybluesedit all the time but especially on Sundays and  you can view Monica’s incredible work on IG at @Izzylune and on Tumblr: Izzylune

The Secret Revealed – Behind the scene of “Henry, Portrait of a Cereal Killer” by the Amazing Cedric Blanchon

The Secret Revealed – Behind the scene of “Henry, Portrait of a Cereal Killer” by the Amazing Cedric Blanchon By Dilshad

A few weeks ago I had the immense pleasure of interviewing Cedric Blanchon! Not only I consider that interview one of my best, but also, I was honoured to better get to know Cedric, who, I can easily can say, is a true gentlemen with an unparalleled creativeness! During this interview I asked Cedric if he could have revealed to me some of his secrets and show me a how he manages to create his surreal pieces of work. Here, without much ado, A great tutorial by Cedric:

Henry, portrait of a cereal killer.

To make this picture, I take a picture with Camera+ using the timer. The staging is very important I put the head in cereals with milk for maximum results (photo 1)

Photo 1

Take your bowl of cereal, which I took it with pro camera (photo2)

Photo 2

I then open superimpose then load the background (photo 1) and the foreground (photo2) the result is in (photo 3)

Photo 3

After, set transparency for better juxtaposition  (photo 4 and 5)

Photo 4

And Photo 5

Pressed mask and choose the brush, decrease the size (choose the 20) and press the button soft (photo6)

Photo 6

Start clear and refined details, the goal is to have a perfect simulation (photo 7, 8)

Photo 7

And Photo 8

After saving it I open snapseed app and use the grunge effect, decrease thoroughly contrast and choose your style (photo 9)

Photo 9

Save your pic (photo 10)

Photo 10

Open vfxstudio (11)

Photo 11

Load your photo (12)

Photo 12

Choose fx and crack L effect (13 and 14)

Photo 13

And Photo 14

Superimpose your crack around your skull (15)

Photo 15

After you save it, open blender and load the photo 10 and then photo 15 ( photo 16)

Photo 16

Erase completely with the draw (17)

Photo 17

Then again repeat and choose another crack, but this time let reappear crack effect around the bowl of cereal (18 and 19)

Photo 18

And Photo 19

Your photo is ready (20)

Photo 20

After you can adjust the brightness and contrast and a little sharp. Hope you enjoyed it! Bye.

Thank you very much Cedric for this fab Tutorial!!!

Long Live Southbank

Long Live Southbank by Paula G.

As a tourist when you visualize London, you think of mainstream iconic landmarks like The Houses of Parliament, Big Ben (St Stephen’s Tower), Buckingham Palace to name a few. There is though a place that is steep in history, culture and the embodiment of London life. A place I visit frequently, anyone who lives in London knows about the Southbank. The vast array of cafes, the National Theatre, not to mention the London Eye. If you walk along the river front you’re greeted by vendors, street acts of every kind all trying to attract the surge of tourists that frequent the area. As a Londoner I’m always amazed at what I see, I love this part of London because of its love for community living.

The riverside walk will also bring you to a special place, quite different from the other attractions. In the 1970’s the Southbank undercroft was a place of shelter for the homeless, However this partly subterranean space soon became a center for graffiti artists, skateboarders and freestyle cyclists.

Everyone and anyone who wanted to skateboard, meet other artists maybe hold events would visit the undercroft. It is a place of inspiration, bursting with the creativity of the many voices that stamp their mark on this cultural landmark. Unfortunately it is now being threatened of closure, in April 2013 the Southbank Center proposed the development of the area for commercial units. A group was formed to oppose this development, they are called Long Live Southbank. Amazingly they have the backing of the local council, the Mayor of London and many celebrities. Thousands of people have signed the petition to oppose the redevelopment of the undercroft. Here are just a few of the quotes supporting this petition.

“The skate park is the epicenter of UK skateboarding and is part of the cultural fabric of London. This much-loved community space has been used by thousands of young people over the years. It attracts tourists from across the world and undoubtedly adds to the vibrancy of the area – it helps to make London the great city it is.” – Boris Johnson “I urge you to please preserve the integrity of Southbank, a sanctuary for skateboarders, and an important piece of London history.” – Tony Hawk  “Southbank is the oldest surviving skateboard spot in the world and hailed as the birthplace of British skateboarding. This space has empowered generations of physical, visual and collaborative expression and informed and directed the lives of people from all walks of life. This world famous landmark and cultural icon must be preserved for future generations to flourish.” – Henry Edwards-Wood.

If you would like to pledge your support by signing the online petition here is the  link  for their Change.org campaign. Also have a look at their website ‘Long Live Southbank’ if you want to find out more plus keep up to date with their progress.

 

London by Night

What I love most about this crazy, creative community we are a part of is when connections are formed and out of those connects creativity is brought to a new level that would not have been reached otherwise.  Being an artist in a community that is constantly sharing, changing and growing is astounding and stretches me constantly. Everyday we are bombarded with images, thoughts and ideas that test our limits as artists and move us further into our journey. I love hearing stories of projects and collaborations that never would have happened without technology. Dilshad and Matt created a connection and through that connection challenged one another to flex their creative muscles while shooting for 18 hours straight. Dilshad was armed with his iPhone and Matt with his DSLR as they took to the streets from 3 pm to 9 am the next day. They were not shooting to out do one another but shooting to compare the strengths and weaknesses of each tool. Although both photographers will tell you their best laid plans went awry, you will see from the beautiful shots they captured that the project was a success.- Anna

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My name is Dilshad Corleone (italianbrother, pretty much everywhere on the social medias). I consider myself to be a smart-phone photographer, or better, an iPhoneographer. I shoot only with my iPhone, and I have had exhibition all over the world, from the UK to the US, including a lot of countries in the middle and around these two… I have also been published in various magazines, such as Shooter Mag., The Drum, and Carephone Wharehouses’ The Guide to name but a few; and of course on some fantastic E-Magz too, such as Mobiography, Snap from The Haus of Hipstamatic, and Mob Fiction! The Highlight of last year, for me, definitely was the video of me walking the streets of Barcelona while I photographed the day-to-day life of its dwellers. Photography and mobile photography has absolutely changed my life (and I am not trying to be cheesy here). This year has started pretty nicely too: hanging out with Matt it’s a lot of fun, he is an incredible photographer and a great friend too. The video we did was really revitalising! I loved every minute of it and it was a great exercise and experiment. My name is Matt Davey; 23, self-employed and loving it, I am a music photographer. My work is based around shooting local bands of Essex, England. I’ve got bit of a name for myself locally over my past (and first) year of business (Jackal Media), especially after shooting for Electronic Daisy Carnival back in 2013. I started photography when I was 14, I worked in a small Kodak Express shop developing films and doing small touchup jobs with Photoshop, which I then got my first point and shoot; a year later I got my first SLR – a Canon 450D, and then things got real for the young Matt Davey. Things got professional for me when I helped re-open my local youth club last year, which is a music venue every Friday supporting the discovery of local talent. Since then, I have been a professional music photographer. Then I decided to hang out with Dilshad Corleone a lot more…

Thoughts of NYC

It has been two years since my last trip to New York City.

I went to see the “Art Meet Technology” exhibit which featured one of my photos.  I was super stoked to say the least.  I reached out to friends, former colleagues and high school friends to join me in the event; it was great to see those who showed up.

Seeing everyone got me talking about life as a photographer.  I think that this was the first time I actually called myself a photographer.  Let me explain…

As I’ve been documenting my life through images I just categorized myself as someone who enjoys taking photos, casually.  I never really saw myself as a photographer since I feel I still have so much to learn and there are things that I’d still like to try and do to push my limits; I suppose that goes with anything in life.  But what I do know is that something changed for me that night.  Seeing my image up on a wall, in the city where I grew up, made things different and official, unlike any other time.  It was a combination of people asking me about this whole mobile photography business and what it is that I do, all of them intrigued by how this came about using a mobile phone.

They asked questions which made me think about my role and why I love the scene so much.  I’d like to think of myself as a magnet, bringing everyone together under one roof.  This is what makes me happy and keeps me going.  Meeting people face to face that I’ve “met” online or randomly in person – whether at a coffee shop or event – add to the power of connection.

I was in NYC for one week and did my best to get out and about despite the freezing cold.  I felt like such a tourist, in one of the most amazing places on earth – my home away from home.

I felt like a kid in a candy shop, trying to figure out which treat to try first as I planned my week.  I was on the subway more times than I could count and probably more times than I ever did in a year when I lived there.

The first thing I wanted to do was take a walk down 5th Avenue.  I wanted to be in the midst of all the fashion and glamour and submerge myself with all the visitors while getting lost in the sea of tourists.  I noticed many of the same stores and of course, some high tech billboards which were new.  But what caught my attention was the restoration of St. Patrick’s Cathedral.  Looking at it made me think of La Sagrada Familia, all caged up under construction.  I wondered what was going on so I went inside.

 

There she was as beautiful as ever even with the metal frames.

People were walking in for the evening mass, taking a seat on the pew, while others prayed and left.  It felt so calming and rejuvenating to be in there.  It gave me a sense of belonging.

At night I’d stare at the skyscrapers, with their flashing lights as they illuminated the sky.  It got me excited and the thrill ran through my veins.  I felt like I was twenty again.

And then I was reminded of home…

and started to miss my husband and son dearly.  It was the first time I had left them for this long since SuperMax was born and it felt strange.  Being in the big city without them made me feel empty even though I was so happy to be home again.  This feeling was so new to me so I coped as best as I could and continued to have fun and enjoy the moment.

One of the things I enjoyed the most was visiting the Metropolitan Museum of Art.  It was so nice to spend a few hours there and really take notice of the people and exhibits around me.  I wanted to capture the beauty of the architecture and art, all of which makes the Met so special and grand.

So I stood there for a while as time went by.

As I mentioned it was super cold the week I was there.  Snow was still on the ground and the wind chill made it almost unbearable to stay outside.  As the sun started to set, people swiftly made their way home and the streets became empty again.

A rare happening in New York City.

On my list left to do before heading back to Seattle was to go see the 9/11 Memorial and the Brooklyn Bridge so I did just that.

It was the first time I walked around ground zero since the attack.  I could never face it nor come to grip with how I felt about the Freedom Tower project.

Stepping on sacred ground, where so many people lost their lives made me feel a bit uneasy, as if it were wrong of me to be there.  As I looked at all the people gathered around the memorial sites, a darkness came over me, and seeing the names of those lost was heavy on my soul.

 Having gone through such an experience and seeing our city rebuild itself makes me try to process it all.  I will never recover from such a horrible event but what I do know is that no one can take away the love I have for the place I grew up in.

I continued my quest til the very last minute.  The morning of my flight I made it down to the Brooklyn Bridge, recounting my week as I mentally said goodbye to my home away from home.  Not knowing when I’d be back again, I wanted to get a good look at my beautiful city.

As I admired the architecture all I could think of was how proud I am to be a native New Yorker.

—–

All the images were taken with a Lumia 1020 as part of the Windows Challenge.   

Creating & Looking :: An Experiment with Two Photographers

Creating & Looking :: An Experiment with Two Photographers by Rebecca C

I’m interested in the differences between the intention of the artist vs the reception of the image by the viewer; what the artist puts out in to the world and what we, the viewer, receive.  To investigate this idea I’ve asked two photographers, Michel and Deena, to choose a work of their own and write a little bit about their purpose in creating the image and/or some background about how the particular image came about. I asked each of them to write  about what they saw in their own image and then to exchange images with each other.

Once they received the image from the other, I  asked them to write their thoughts about the other artist’s work. I asked them how it made them feel and how they read the image, a gut reaction and not a critique

This is what Michel and Deena shared with me about their own images as well as their initial thoughts about each other’s images.

I would like to thank both Deena and Michel for participating in this experiment.

Deena’s thoughts on her image:
My way of editing is very unconscious most times. I see things and make note of the intention for that image. Working within the squares is what I think of first, and secondly, the image that will overlay those squares. This image was made after spending a weekend with my two siblings. When I started making the piece, I always start with the content of the squares. I make sure the images won’t be too invasive once I’ve added the overlay. My sister has an infectious smile. For this image I knew I wanted to make an image to reflect that while creating a piece that tells another story within each frame. The starkness of snow scene with its minor details of trees and power lines worked for this piece as an overlay, adding story elements without detracting from my original intent.

Michel’s thoughts on Deena’s image :
The photograph is musical.  I first sense the count, the numbers involved.  The four images, three frames, two overlaid pictures and the single composition.  The square frames measure a melody of lines.  There’s a catalog of linear elements, straights, arcs and scratches, wiggles and woggles.  This melody plays across the scene looking for an anchor, an alignment to hold on to.  The anchor it plays to are those tones, the larger scaled human form that rests so quietly.  Finally, I see two different spaces, the perspectival depths of the lines against the flat human tones and their shared fragile tethers

Michel’s thoughts on his image:
There’s a found horizon line which sets up two spaces in the photograph.  One space harbors solid forms and bodies the other is ephemeral and fragile.  Between them lies a tension.  That tension is described in the fragmented and reflected pieces, an altered third space, a new layer beyond that horizon.  This reflected view is what holds the picture still, a glimpse of the unexpected, if even just for a moment.

Deena’s thoughts on Michel’s image:
Black and white and architectural. The element I find myself gravitating toward in Michel’s imagery is not always shape, line, and form but the space between what he sees. This image feels as though there is a dialogue happening between the two buildings. Being pulled upward by the lines and feeling the balance. One  building seems almost transparent and yet the viewer can see the reflection in the other building’s façade. The words chosen to accompany the images always provoke my imagination.

You can see more of Michel’s work on G+ // twitter // Flickr // Instagram and Deena’s work here.

Digital to Canvas

An interview with David Ridgway by Bridgette S.

It is with great pleasure to introduce David Ridgway, a local artist who resides here in Washington State.

I was first drawn to his gallery because of his abstract art and then found out he has been painting most of his life.  The images you see below are samples of his work created using Decim8.

A collection of his artwork along with other Northwest artists is currently on exhibit at the Karla Matzke Gallery and Sculpture Park, so if you’re in the area be sure to check it out (details below).

“Oxidation”

Tell us a little bit about yourself. Where are you from? Whereabouts do you live now?

I was born in Seattle and lived in the area until I was 14, at which time my family moved to Boothbay Harbor, Maine. I lived in Maine until the mid 80s when I headed to the Caribbean to work on a friend’s ketch. Met my wife in St. Croix and we headed for Maui with a friend. Ended staying for 5 years and it is where I studied color with Richard Nelson and got my start as a professional artist. We then spent several years in Maine and Maryland near family and friends. A CBS Sunday Morning feature about a local sculptor inspired a move to Orcas Island in the San Juan’s in 98 and we were there for 12 years. Bellingham is now our home.

Has art always been your passion? How did it develop?

I was always interested in drawing and painting as a child. My family had a strong interest in the visual arts and many painter, sculptor and photographer friends. I majored in Art at college but am primarily self taught.

How would you describe your art? How has it evolved?

The oil paintings I have been doing for several years have developed from an attraction to architecture in the landscape and how man relates to place. The work seems to get more simplified at times and then veers back to details. While on Orcas I did quite a bit of on site painting. Lately it has been more studio work.

“Exurbia”

Describe your workspace. What gets you in the mood to create new artwork?

I work in our converted 2 car garage which we finished during the remodel of our mid-century ranch home in 2010. It has track lights, heat and a small wood shop.
Seeing a new intriguing architectural situation in the landscape has always been an inspiration. Lately, creating something visually compelling on my iPhone or iPad has also been a strong impetus.

What are some of your inspirations? How do you keep the momentum going?

Seeing other work of painting’s I admire is always an inspiration, especially those whose work leaves some of the process visible. Visiting a new location is always stimulating. I recently went to Palm Springs to see the Richard Diebenkorn Berkeley Years exhibit and found the trip rewarding. Having shows scheduled is also a good reason to keep moving forward.

How much has digital art influenced you? Were you open to it from the very start?

I got my first Mac in 97 ( 2GB drive) and started playing with Photoshop and Painter using a graphics pad. I used some of those images as reference for oil paintings early on. While on Orcas, I used my PowerBook and graphics pad for life drawing. Now I use an iPhone 5 and iPad to draw, paint and manipulate photos digitally and am using some as reference for abstract/non-representational paintings.

In the digital era, everything is at one’s fingertips. I wonder if this, in turn, makes you lean toward creating on your mobile device(s)? If not, how do you balance both mediums?

I have found my iPhone and iPad to be convenient tools for capturing a scene or moment, sketching and creating abstract digital imagery. Useful more as sketch pads or preliminary drawing media, as opposed to creating an end product, when I’m using them for reference. My ‘for Instagram only’ pieces may show up somewhere else eventually and I have sold some prints made with PrintStudio and canvas prints through twenty20.com. Having new tools with which to work does create the need to keep things in balance. The ‘always with you’ aspect of the iPhone adds to the immediacy and freshness of imagery. Many of my paintings lately have used iPhone images and digital sketches. Hands on, paint to canvas does remain my first love.

“Leaf I” 

What app(s) do you use most? And why?

A year and a half ago a friend on Instagram, Julie, posted an Android glitched image and I asked her about it. She mentioned Decim8 and I tried it. Since then I have tried many apps and have several I use regularly: Snapseed, Picgrunger, Superimpose, Artrage and lately Photoshop Touch. I occasionally use Hipstamatic and Oggl to capture or post edit. Decim8 remains my favorite editing tool using Sigstop and Graboid effects. It creates a broken collage effect that I find appealing. Combining Decim8 with the weathered grunge effect in Picgrunger adds depth and visual interest.

What do you foresee for the future? Will you continue to transfer digital to painting?

I am intrigued by mobile photography/graphics manipulation apps and particularly what artists, fine art photographers and designers are doing with the medium. I plan to continue interpreting my digital images in oil and mixed media. Some of the digitally referenced work is informing my more representational paintings as well.

Do you feel that art enthusiasts appreciate digital art as much as fine arts? What are your thoughts regarding this topic?

New tools and media are often adopted early by painters and photographers. The advent of smartphones and tablets has created a revolutionary movement in the visual arts. Art enthusiasts are becoming more aware and accepting. The younger generation has already embraced it.

“Leaf III” 

Have you been in any exhibits showcasing your digital art? What response have you gotten?

I had several digitally referenced abstract paintings in a show with two other painters entitled ‘Driven to Abstraction’ at Simon Mace Gallery in Port Townsend, WA in December. The show was well received and it was inspiring talking with people about the new work.

Which painters do you admire?

Richard Diebenkorn, Joan Mitchell, Picasso, Lois Dodd, Paul Cezanne, Henri Matisse, Peter Doig and many more.

Which digital artists do you admire?

Jennifer Bracewell
Esther
Mick Day
Carolyn Frischling
Harold Hollingsworth

—–

I was born and have spent most of my life in Western Washington.

I enjoy painting the local landscape on-site or in studio. My work often is about the places where man and the landscape coincide. Architectural and other man-made objects feature prominently.  My compositions are more about interlocking colored shapes than a realistic depiction of a specific place.

I occasionally enjoy working in a series based on a favored location. The series often acquires more simplified and/or playful imagery over time.

The path I have taken in making my paintings resembles meandering stepping-stones that often take an unforeseen turn. Conveying my pleasure in the process of painting is a primary intention.  Lately I am also interpreting abstract digital imagery created on mobile devices in mixed media and oil. I have been working digitally since 1997.

Website / Instagram /  Facebook / twitter /

My work is included in the recently released book ‘100 Artists of the Northwest’ by E. Ashley Rooney and Karla Matzke.

An exhibit with 25 of the included artists is currently at Karla Matzke Gallery and Sculpture Park, Camano Island, WA.

March 1st-April 23rd.

A Journey in The Surreal World

A Journey in The Surreal World of Cedric Blanchon by Dilshad Corleone

Cedric Blanchon “displays incredible dexterity as a traditional photographer whose imagination and skill with apps seems to have no boundaries. His strong personal messages are cryptic, disturbing, thought-provoking, and sometimes even witty.” The surreal seems to be the driving force behind Blanchon’s photos, each and every photo of his can be read in many different ways, for they are intricately embedded with an intrinsic meaning, or that is what I feel. I was truly honored when Cedric accepted my interview request. He is the man of the moment, and yet he is one humble, down to earth person that you will ever meet, so without much a do, Ladies and Gentlemen, please do welcome the winner of the 2013 Mobile Photography Award Grand Prize: Cedric Blanchon!

Henry, portrait of a cereal killer

DC- You are the man of the moment, and I am incredibly honoured to be able to interview you here! I came across your photo much before your great win at the Mobile Photography Award, and my true congratulations for that! As soon I saw your photos I was completely taken and although I have read and seen some of your incredible tutorials, I still cannot understand how you manage to create such amazing works of art, but we will talk about this just in a bit! To start with, however, I would love to know who truly is Cedric Blanchon, what can you tell us about yourself?

CB– So I shall introduce myself, my name is Cedric Blanchon I’m 34 years old, I have two children, I live in Troyes in France (approximately 200km from Paris), it is only just 2 years that I have started iPhoneography, and this has changed my life!

Smoking will kill me

DC- What is it that you do as your day job? Are you a professional graphic designer or a photographer?

­CB- Oh no, not at all, I work in a real estate agency, I am a painter decorator, my days are like everyone’s else, except that I’m taking photos with my smartphone, it allows me to express myself, to be creative with this form of art I found a means of expression and to share with others, it’s like therapy for me, some will see a psychiatric, me I’m doing mobilephotography!

Follow me (the Brainwasher series)

DC- So how did photography entered in your life? What made you start snapping?

CB- One day I bought an iPhone, I was amazed by the capabilities of this device, at first I was doing short films for fun, I had fun to cut my movies, and then as I have always loved photography (when I was younger I had a polaroid) I started taking pictures, mainly in the street, at the beginning in black and white, I discovered the photo-sharing networks, and many incredible photographer and artist. I have always been imaginative and there I started to put myself on stage (I hadn’t much choice, I had only me as a model) and the editing always amused me!

Lose yourself in my mind (the Brainwasher series)

DC- When and what made you realise that the iPhone had great potential for what you wanted to do? What was, of course, if you remember the very first photograph that you took with your mobile and what device did you have at that time?

CB- I had an iphone4s, this is the beginning of my series Poladream, I simulate the grip of a pola, and I created some fun things with the phone, some of these were also surreal. It is at this point that I realized the potential of the iPhone and all the apps available; moreover, I believe that the imagination is very important. I had many very positive turns and this has pushed me further. For me this was really the beginning of everything that I’ve subsequently created

Poladream

DC- I have purchased your E-book on the iBook Store, what a fantastic collection of street, black and white and coloured photographs, and while some of those are apped, however, these photographs are quite classic street takes, daily life, truly poignant moments by all means, and yet there is a significant difference with your recent work, so before we go into this, can you tell me more about your street photography:

DC- What is it that you want to show?

CB- I love street photography; I am a big fan of Robert Doisneau. Street photography is special, to capture moments of life is not easy, I have always wanted to show (especially on my ebook) the face and soul of hidden cities, most people show the Eiffel tower its many reflections in a puddle of water, it is very pretty and aesthetic but I prefer to show and photograph those who sleep under the bridges, not far away from the Eiffel Tower, you can see this in many of my photos, especially in my series the corporation for example. I always loved those who wanted to show the hidden things, we live in a world which I don’t find very pretty and to denounce it is a good thing, even if it is most of the time useless, with regards to the ebook, I would like to thank Tribegram and its creator Severine  Mydame on IG, and thank you for having purchased it.

Macadam Chroniques

DC- You are more than welcome! I really loved it! Are you still into street-photography? Or, do you think you are moving away from it?

CB- I always take street photos, although less, I love experimenting with all genres and I do not want to be put into a box, I like to be surprised, and streetphotography will always do that to me!

Up

DC- where do you go to catch your preys? Is there any particular location that you love and you keep going?

CB- I love taking pictures when there is fog for example, I do not really have a special place, I just need to feel it, however, when I go to Paris, I love taking photos in the streets, many of my photos of street (part of my ebook) are taken ​​in Paris.

And we go leave in smoke our past memories

DC- what do you think that makes a perfect street photo?

CB- For me a good street photography is successful when you can smell the street.

Desperate house clothing

DC- HA!! BEST ANSWER EVER! Your recent work is just Magnificent! Surreal, to say the least; and the introduction to your work at the Mobile Photography Award page says that you: “display incredible dexterity as a traditional photographer whose imagination and skill with apps seems to have no boundaries. His strong personal messages are cryptic, disturbing, thought-provoking, and sometimes even witty.” I cannot but agree with every single word, so, my first question on this would be, how did you came across this style?

CB- I think I’ve always had this style in me, I kind a like experimenting with the surreal, dark humor, maybe I dare to do things that others do not dare. Cinema has had a huge influence on me and I try to reproduce that feel into my photos and through my work.

Human after all

DC- There is a strong story line and as they have mentioned it: there seems to be a personal message, which is quite cryptic, murky, incredibly thought provoking, and yet, at times disturbing, combined with a dark sense of humor. What is it that you are trying to say?

CB- it really depends, for the series of the corporation, I was heavily influenced by the black and white film Erasehead by David Lynch, the World of David Cronenberg and Shinya Tsukamoto, Franz Kafka and George Orwell and the movie la Jetée by Chris Marker, something dark, a futuristic universe where man is dependent of the machinery. The photos in this series depict the pipe and the organic hole, a mixture of technology and flesh, ultimately are always technologies like TV for example, that I try to condemn and criticize, I try to say be careful don’t be too dependent on it, the new videodrome series, or the brainwasher series talk about this being dependent. My photos also talk about the place of human beings in our society, what makes us human?

Need holyday?

DC- Yes, what does really make us Humans… You are your own model, can you tell us more about the process of photo taking involved to create this work?

CB- I put myself on scene because I do not have anyone else to use.., I use camera + for its timer, I love to stage objects, it is very important to place some objects in my photos, as organic pipe that actually exists, I love those tinkering objects found after that in my photos

Overcomsuption

DC- How do you see the world around yourself?

CB- Let’s say I have a pretty dark vision of the future, but I believe in humans (some of my photos represent a fetus), I think my black humor comes from it, I prefer to laugh otherwise I would just cry.

Smoky Portrait

DC- The surreal seems to be the driving force behind these photos, any source of inspiration? Each and every single photo of yours can be read in many different ways, for they are intricately embedded with an intrinsic meaning, or that is what I feel.. can you elaborate on this a little?

CB- The sources of my photos are mentioned earlier in the interview, for example overconsumption picture, there are two reading, or even three, first humor, surrealism, and then you can see a review on our consumer society, to want to eat too, literally we vomit, to want too possess things, these things eventually possess us!

The hunt is open

DC- That’s deep! I would love to see a complete tutorial of one photo that you are most fond off, would you like to make me happy?

CB- Yes of course with pleasure, I made a tutorial for: Henry’s portrait of a cereal killer; but I think the idea it’s most important than the edit.

Too fast

DC- I completely agree, the idea is always more important than the edit! Although the edit is amazing and we will be posting it separately. Have you thought what is going to happen next? It, surely, is going to be a busy year for you, where do you want to take your work? What would you like to achieve?

CB- I Continue doing what I love, I am currently working for an exhibition at the Paul Toussaint empty space gallery, I wanted to show my work in real, a little out of the digital sphere and show my photos in galleries, it’s very important to me.

Unilateral selection

DC- Where can we find you?

CB iPhoneArt, EyeEm (EyeEm has created the eyeem market and people will be able to buy my photos online at the website) IG, flickr, Facebook, tadaa, tumblr, Website: http://www.cedricblanchon.com

Yes i know! my umbrella is pink!

DC- Is there anything that you would like to mention, or that I haven’t covered?

CB- No. Just perfect, this is the best interview I’ve done, This is the first time someone has bought my Ebook for an interview and to see all my work, thank you so much!

You also sell your chilhood memories ( the corporation series)

It was the best purchase in a long time, so I am the one that say Thank you ever so much for your time! And again, congratulations for your great win!

Your sexual hologram is ready

Collective Forgetfullness

As the collective forgetfulness falls on the minds of the USA, Sam Smotherman revisits the killing of Trayvon Martin and the protests that erupted in response to the not guilty verdict with long time political organizer, Chris Crass to find out what can be learned  to move forward to a more just society.

Protestor In Front of Los Angeles City Hall

Kenny (Father) and (Son) Kai | “I brought Kai here to teach him about politics and justice.”

What was the significance of the Trayvon Martin case?  Why do you think it grabbed the nation’s attention?

The murder of Trayvon Martin exposed the enduring and brutal reality of white supremacy in the United States.  We heard the logic of white supremacy on the 911 call Zimmerman made.  We heard Zimmerman turn a Black kid on his way home into a violent criminal.  We witnessed the murderous results of Zimmerman assuming that a Black teenage boy needed to be contained and punished by any means necessary, not because he had done anything wrong, but because in a white supremacist society, Blackness equates to a pathological culture of crime and violence that must always be monitored, policed, imprisoned, and feared.  It isn’t that Zimmerman acted far outside the bounds of society, it’s that he expressed the murderous, paranoid, dangerous results of the racism deeply ingrained in our society.

Systemic racism in our society that affects everything from housing to jobs to life expectancy is often denied as being a thing of the past or alternately, the result of the failures in communities of color.  For example, while studies consistently show that Black and white youth use illegal drugs at around the same rate, Black youth are more then twice as likely to be arrested, and far more likely to be incarcerated.

Michelle Alexander’s best selling book, “The New Jim Crow: Mass Incarceration in the Age of Colorblindness” argues that the criminal justice system in the U.S. “operates as a tightly networked system of laws, policies, customs, and institutions that operate collectively to ensure the subordinate status of a group defined largely by race.”  Trayvon Martin’s murder showed the world that the New Jim Crow is the new racial order in the U.S. today.

How did protest and public expressions of outrage help make this one of the top national stories of 2013?

While the original murder grabbed headlines, what kept this story in the national spotlight, and ultimately forced the hard of the police to arrest George Zimmerman was the organized resistance of the Black community.  Demonstrations erupted around the country within days of Trayvon’s murder.  His family was vocal and public, and with the support of national Black leaders like Al Sharpton, they voiced outrage and grief that resonated in and beyond the Black community.  Hundreds of demonstrations of tens of thousands of people took place in the initial weeks of Trayvon’s murder and this not only kept the story in the headlines, but it brought a strong race analysis to the forefront as Black people of all backgrounds denounced racial profiling and racism – from the Miami Heat basketball team to working class Black churches throughout the South.

To be clear, there were people of all backgrounds protesting the murder of Trayvon.  In Knoxville, Tennessee, where I was living at the time, hundreds of white people joined with hundreds of Black people in one of the largest anti-racist demonstrations in recent memory.  But that said, the organization and mobilization in the Black community is why Zimmerman was arrested, why he went on trial, and why the name Trayvon Martin is not only known around the country, but known as the name of a young man who’s life was stolen from him and all of us because white supremacy continues to shape U.S. society.

You were part of actions expressing outrage both when Trayvon Martin was murdered and when George Zimmerman was acquitted.  What were you trying to accomplish and do you think it was successful?

As I mentioned before, I was living in Knoxville, Tennessee at the time of both the murder of Trayvon and the acquittal of Zimmerman.  When Trayvon was murdered a coalition of groups and individuals in East Tennessee came together to form Knoxville United Against Racism.  With leadership from the white, Black, and Latino community, we were able to mobilize over 400 people to express our outrage, grief, and resistance.  With cities and towns around the country calling for Justice for Trayvon Martin, we brought together church groups, labor groups, LGBTQ, immigrant rights, and environmental groups, and we put forward a powerful message of unity against racism.

The Trayvon Martin murder created a dividing line in the country.  Do you think Zimmerman murdered Trayvon or was it an act of self-defense?  Was racism a major factor in this case or not?  It is in moments like this when all of us who believe in social justice, who believe in equality, must step up and turn this travesty into a clarion call for change.  Our goals were to raise awareness of the enduring reality of racism, to build momentum on the community and in society to fight racism and work for systemic equality, and to build unity across racial divisions in the process.  For me, a major goal was to raise awareness in white communities and then turn that awareness into action.  While there is far more that must be done, overall, I do think we were successful.  Rather then Trayvon Martin’s murder being yet one of hundreds of cases of young Black people being murdered, it became a case that helped us draw attention to the epidemic of racist murders in this country.  While it is true that since Trayvon, there have been dozens and dozens of horrendous murders of Black people – include several involving young Black women and men going for help after car accidents only to be shot and murder at the door of white neighbors who said they “feared for their lives” upon seeing Black people at their doors – we must do all we can to raise consciousness and get people active in the movement to end the New Jim Crow.

That brings up two important questions for me.  First, how can we go from outrage of cases like Trayvon Martin and move to on-going work for social justice?

Shortly after Trayvon was murdered, I wrote the following for a national call to white people to deepen our efforts as we moved from outrage to organizing: “Let us turn our outrage and pain into commitment and action.  Let us sound the alarm that silence and inaction in the face of injustice is consent and support.  Let us learn from those who have come before us and get involved with those organizing for racial, gender and economic justice today.  Let us be mindful of white privilege, but also remember to be powerful for racial justice.  Let us act from our vision, see opportunities to challenge racism, engage in courageous efforts, create beloved community, and build our movements for collective liberation.  Now is the time.”

Outrage is an important part of the journey.  Outrage connects us to our sense of right and wrong and can motivate us to take action.  Joining in demonstrations or organizing them ourselves is an important next step.  Coming together with others in our communities is key to overcome the feelings of powerlessness and isolation, feelings which systems of inequality from apartheid, to capitalism, to white supremacy both create and thrive on.  Come together with others to express our outrage, our opposition.  But the next step is vital and that is the step of joining on-going efforts to win social, economic, racial, gender justice.  This can be on the local, regional, national or global level, but the most important part is that we come together with link-minded people to work for positive long-term changes to the problems we face.

Shortly after the Zimmerman verdict was announced I write this short essay called, The Verdict is In: We Must Organize to Get Justice I outline 10 steps people can take to move from outrage to organizing.  Anyone who wants to explore that question further can read the essay here:
My next question is, why should white folks care about cases like Trayvon Martin?  How do white folks participate in meaningful anti-racist organizing?

The question for white people is really, which side of history do you stand on? Do you stand with the Fugitive Slave Act of 1850 that made every neighborhood watched by the slave patrols?  Do you stand with the courts, police and juries that time and time again acquitted anyone accused of lynching a Black person? Do you stand with the White Citizenship Councils who were the most “respected” men of their community, who defended Jim Crow apartheid?  Do you stand with the Klu Klux Klan who were the first to make the argument that the Voting Rights Act and Affirmative Action gave “special rights” to Blacks, an argument that quickly became a rally crying for white Americans around the country.

Or do you stand with the Abolitionists like Frederick Douglas, William Garrison and Harriet Tubman who were routinely told that they were creating racial hostility and disturbing the natural order.  Do you stand with Ida B. Wells who launched an international campaign against lynching and used her skills as a journalist to expose the false accusations of rape and theft in story after story of Black men who were lynched?  Do you stand with Emmett Till and his family when he, at 14 years of age, was brutally murdered by white men because he “didn’t know his place” and was supposedly flirting with a white girl.  Do you stand with Rosa Parks, Martin Luther King Jr., the Freedom Riders and the Civil Rights movement as they faced angry white mobs from Chicago to Alabama?

My nephews, 5 and 7 years old, recently asked their Grandmother, at the Lincoln Presidential Library, “Nana, how could Christians have supported slavery?” It’s a heartbreaking question. And many of us who are white would respond with indignation about slavery, as we should. But how often do so many of us look back and wonder “how could people have supported slavery and segregation.” And when we look back, we are usually pretty clear that we’re not just talking about the people who actively supported, but also the people who through their indifference and inaction supported these systems. The argument is frequently made, well that was just considered normal at the time, even though it is appalling to us now. But what isn’t as frequently named is that it was the resistance of Black Americans, people of color and white anti-racists who took on those injustices and won institutional and cultural changes.

However, most white Americans would either say that they would have been on the right side of history working for justice or at the very least, they would not be on the wrong side of history supporting the slave system and segregation. But it is always so much easier to assume you would have been on the right side of history in retrospect. What is much more difficult is being on the right side of history in the here and now. Because in the here and now, we are living in the “what was considered normal,” the normal that in retrospect is so clearly racist.

The Trayvon Martin murder, and the verdict which acquitted George Zimmerman is just the tip of the iceberg, as a recent report found that in 2012 a Black man, woman or child was killed every 28 hours by police, security guards or vigilantes. It not the uniqueness of Trayvon Martin being racial profiled and killed for being Black “in the wrong neighborhood”, it’s that his story is so tragically familiar.  While there have been many white people outraged by the murder and the verdict, there are many more who say “it’s just so complicated,” “they both made bad decisions that night,” “Martin got what he deserved,” or simply “the jury did a good job.”

It’s time to speak honestly. At all the points in history that we look back on and can’t understand how people supported such racism, in all those eras, white people said “it’s too complicated,” “it’s the way things are,” “that Black person must have done something to deserve it.” Even in the murder of Emmitt Till, many white people said, “it may have been extreme, but the boy forgot his place.” Today, the verdict of Zimmerman is now part of our history, but these cases continue to happen, over and over again, and white people have to choose what side of history we are on.  It can be an intimidating prospect, but ultimately it is about who we choose to be as people.  Our character, values, and legacies are shaped by the choices we make in the times we live, not by the stands we imagine ourselves taking in the past. I believe in our ability to stand, in the millions, in the tradition of the Abolitionists, the Freedom Riders, and the Dream Act students, the immigrant rights movement and the Justice for Trayvon Martin movement.

I believe that we can learn from white anti-racists of the past and present and make powerful and important contributions to creating a multiracial democratic society based on equality and justice for all.  I recently wrote a book called Towards Collective Liberation and one of the main themes running throughout it is the process of white people coming into consciousness about racism and moving into anti-racist action.  For me, anti-racism isn’t something I do on behalf of other people, it’s a struggle for the heart and soul of our society, for my family, and for myself.  Racism is a cancer in white society.  I organize for social justice and do this work in part because I don’t want my son to grow up to fear and hate others based on the color of their skin, I want him to grow up in the proud tradition of white anti-racists like Abbey Kelley, Anne and Carl Braden, and people I talk with in my book, contemporary white anti-racist leaders like Molly McClure, Carla Wallace, Z! Haukeness, Amy Dudley, and Marc Mascarenhas-Swan.  I also do this work because I know that when we come together across divisions and work for a better world, we begin creating that new world in the here and now. We build the beloved community, that Dr. King envisioned, when we act against injustice, stand on the right side of history, join with others in our community and around the world, and work for political, economic, cultural, and social change.  This is how we honor Trayvon Martin, Emmet Till, and Renisha McBride.  This is how we create the world we want to give to our children and grandchildren.  This is how we live with purpose, vision and values to guide us.  We can do it.

 

 

Tre’ Love,  Safiyyah and Safiyyah | He brought his daughter out to his first protest so, “As she grows up I want her to know when there is injustice to stand up

Ayesh​a Forrest | First protest | Age 13

Marion The Last / Self described Pray Fast Warrior who prays that she and others gain “revolutio​n knowledge and deliveranc​e from evil

Chris Crass is a longtime social justice organizer who writes and speaks widely about anti-racist organizing, feminism for men, lessons and strategies to build visionary movements, and leadership for liberation.  His book Towards Collective Liberation: anti-racist organizing, feminist praxis, and movement building strategy was recently published by PM Press.

 

Meet Pete: Pete Halvorsen

Meet Pete: Pete Halvorsen by Andres Tardio

A few years ago, Pete Halvorsen decided to take his daughter for a walk. Is there a better place for this than the nearby pier? The sand, the ocean, the beauty and the freshness give you a calm sense of joy. Perfect for a father-daughter stroll.

The pier also happens to be perfect for photography, something Halvorsen understands quite well. Since those first walks with his daughter, Pete has crafted some of his greatest works under and on that pier. His eye for the pier is a sharp one, and that love for photography has extended from the pier to other countries. His photographs, ranging from stunning landscapes to striking portraits, continue to impress.

AT: How did you get started with photography?

PH: I’d always been drawn to photography as a medium to tell stories. It wasn’t until 2010 when my eye began to be develop and sharpen that I decided to commit myself as a full time photographer.

AT: How has your life and perspective changed since you started working with mobile photography?

PH: In this image-based world a single snapshot has the ability to say so much. As an early adopter of Instagram I saw first hand how well non-tranditional (mobile) snapshot photography was received. From traveling around the world to walking down to the beach, I began looking for quick moments to share with my iPhone. Those moments wouldn’t have been as organic or easy to share before I had mobile photography as one of my weapons.

AT: Your work is pretty diverse. How do you approach portraits differently than you approach landscapes?

PH: I try to use the same approach to both; I strive to catch a real moment and freeze it. If it’s a sunset or a portrait of someone laughing, these are both experiences that can be felt if captured in the moment. I try not to over think it when shooting either, when I start “trying” to be creative it becomes inauthentic and that translates in the image.

AT: You’ve also done some humanitarian photography. How did you get involved with that initiative?

PH: A friend of mine was involved in a non-profit called Kusewera based out of Los Angeles that made humanitarian service trips to an orphanage in Malawi. She approached me travel with them live in the orphanage and document their work. I was also able to lead a mobile photography class for the kids. It was such a life changing experience not only professionally but also personally.

AT: Of course we have to speak about #pierpressure. How did this start and what do you think inspired that original spark?

PH: I was a stay at home dad to my daughter when I first downloaded Instagram, I live pretty close to the Manhattan Beach Pier and would take her on walks down to the pier almost daily. Two of my first Instagram friends Julya (@obscuralucida) and Greg (@leggomygreggo) would join me in providing hilarious puns on each others photos. I had noticed that posting a picture of the Pier at Sunset would get the most reaction of any photo I’d post. So one day I made the joke that I was giving in to the “Pier Pressure” of getting likes by posting another photo of this pier at sunset. It became a thing.

AT: A lot of people shoot the pier, but what advice do you give photographers to make their pier shots more creative?

PH: Piers all have such interesting personalities depending on the time of day or the time of year. From empty mornings during the winter to packed sunsets of summer there is always something different. I’d also recommend you go to geotags of whatever pier (or any location for that matter) and see how other people have shot it that you love. There are always images that pop off the screen to me and new angles I’ve never seen. Imitation is the most sincere form of flattery, I enjoy the work of Peter Lik and saw one of his shots under a pier, this inspired me to slap an Olloclip fisheye on my iPhone and shoot a similar shot. I still remember the feeling when that image went to the Popular Page and got over 200 likes (that was a lot for back then).

The other advice I’d give is something that I’ve been working on myself. Turn around. So many times recently I’m shooting and do a 180 to look for the first thing that catches my eye. More often than not it’s a better shot than the one I had originally set up for.

AT: You’re also pretty involved with meets. What do you enjoy most about meets?

PH: Meets for me are a way to give back to this Instagram community that has given me so much. I feel blessed to have the platform I have. If it weren’t for the early Instameets I went to my network wouldn’t have grown like it has today.

AT: Which meet would you consider your favorite and most memorable thus far? Why?

PH: Great question – They are all so memorable for different reasons – #foggypierpressure because of its amazing climate change within 2 hours #givingpierpressure because of the amazing donations we were able to put together at Christmas time. #brodeotree was a religious experience with some of my now dearest Instagram friends. But you never forget your first Instameet. Mine was in San Francisco back in 2011. It was put on by Laura Lawson (lauralawsonviscontti) & Michael O’Neal (@moneal). I met so many amazing Instagrammers that day at the now infamous #gandhigram

AT: Meets can also bring some negativity sometimes. For example, people may be upset when a person they meet doesn’t follow them on Instagram after the meet. Or someone may not like another’s attitude or whatever. What conflicts have you seen at meets. What do you think people can do to resolve those conflicts?

PH: The follow aspect of Instagram adds a different dynamic for some. A few of Instagrammers I know who large followings won’t go to Instameets anymore because it becomes more about them being there than taking photos. For me, that high follow number has given me the ability to help organize our local southern California instagrammers. They’ll always be a few who aren’t there for the right reasons, but that’s life. The majority of the people at my meets (we had over 150 people at the #dogtowninstameet) are amazing people and photographers. The reward of the great people I’ve met is worth the risk of running into a few bad apples.

AT: When you go shooting, what are some things you are always mindful of?

PH: Story, story, story. What story am I telling with this image or video? Focus isn’t a bad thing either…of course you can always tag it #bluronpurpose and call it art.

AT: What apps do you recommend photographers use?

PH: I’ve been through a lot of different Apps but I keep coming back to a handful – Snapseed is normally my first stop for quick tweaks, I just like it’s interface. Then I usually go to either VSCOcam, PicTapGo or Afterlight if I want to play with tones or moods. I used to shoot with Camera+ but since I got the iPhone 5s I am only using the native camera to shoot with because I shoot so much video too.

Behind The Photographs

Pete Halvorsen also shared five of his most prized shots and discussed the photographs with some details. Those images and Halvorsen’s descriptions can be found below.

“Pure Joy”

PH: While I was in Malawi I ran up and shot this while the kids were playing red light green light. While I was shooting all day with thousands of dollars worth of camera equipment, this quick snap with my iPhone captured the essence of life within the walls of the orphanage.

“The Griffith Observatory” 

PH: One of my favorites I ever took with my 4s. I’ve had good photographer friends of mine that couldn’t believe I shot it with an iPhone and I had to send them the original file so they’d believe me.

“Shadow Swings”

PH: I shot this of my daughters shadow on the playground, it was featured by Josh Johnson back in the day and was the first image that increased my following beyond the friends/family in my circle. I shot it with Hipstamatic and just rotated it because I thought it looked cooler.

“You’re Never Too Young To Dream Big” 

PH: A street snap that caught a great moment of youth and art. This Banksy art on the side of the wall was across the street from where she was born (Cedars Sinai), so once again for me it held even more significant value of the message and the image.

“Chris Ozer” 

PH: In this Chris Ozer portrait in New York, he and I were walking in SoHo just north of where the World Trade Center had stood…So to me, this flag which looks like it had been hanging for 10-plus years had a story.