by Natalie Maddon | Jul 2, 2014 | Stories
Ayanah takes the kind of photos that make you feel like you are a fly on the wall observing her life in action. Her fairytale is hilarious, heart warming, and awe inspiring. She tells stories that give you a glimpse of the dynamics between her children that will make you have all those warm, fuzzy feelings. I can’t help myself from falling in love with her sweet babies. If you don’t have children now, you might just change your mind when you meet Juniper. Her photos are masterfully executed with all the right angles, framing, and colors. This is not your ordinary family flick feed.
N:Natalie A: Ayanah
N: Your photos seem to have captured the hearts of the IG community for many reasons. How did you get started with IG and photography?
A: I grew up being surrounded by the arts. Whether going to the ballet, watching my mother paint, or listening to music, I’ve always loved and appreciated art. I was introduced to photography in high school and fell in love immediately. Processing film and prints was my happy place. Between music and photography, I chose to study music business at University and put photography on the back burner. It really wasn’t until downloading Instagram in 2010 that I rediscovered photography. When I started it was just capturing my kids, with the Nashville filter and frame of course, to share on Facebook. Little did I know the massive and supportive community that I soon become a part of. I now use Instagram and mobile photography as my creative outlet. Being a full time mom and wife is amazing, but without having a way to still be myself and create, it wouldn’t be so. I also have the support of a brilliantly creative husband, which makes it all even better and more fun.
N: Your pictures are always so clean and precise. Are all of your photos shot on your iPhone? Do you edit them before posting? What is your process like?
A: I only use my iphone anymore. Honestly, I don’t have the patience to reteach myself to use a “real” camera, but I’ve been considering taking on the challenge. Most of my photos are edited at least a little bit. I usually don’t have a lot of time or patience for crazy editing. The apps I use most are Snapseed and VSCO Cam. All photos are edited on my phone. I typically start in Snapseed for detailing and enhancing either the whole photo or specific points. VSCO has so many great preset filters that make it easy to change the look completely on a photo or minimally use them to make a photo your own. My editing usually has to do with the mood I’m in or the music I’m listening to at that moment.
N: Now the point of the interview is to highlight “storytellers”. Your photos aren’t all exactly accompanied by lengthy descriptions or what is going on behind the scenes yet somehow they manage to speak for themselves. They are all very personal to your little family. I love the ones that include a blurb about Junipers thought of the day or what was going on in the picture. What are your thoughts around sharing your home life with the thousands that are enamored by your family?
A: To me photography is storytelling. The story of my life just has a lot of kids in it. I like to be personal and honest about our life, without telling our complete life story. I typically stick to their witty comments and goofy stories for my captions. Sometimes thinking of what to caption takes longer than editing the photo and if that’s the case I choose a random song lyric or song title. My children have definitely inspired my photography. Without them I’d be photographing nothing but architecture or maybe even adults. Ha ha!
N: Your kids have captured the hearts of the IG community. What do they think of it all? Do they even realize how loved they are by so many people?
A: All of my children are aware of the camera and don’t mind being photographed. Nearly all photos I share on Instagram are candid captures. My daughter, Juniper, who I photograph the most, makes it easy. Juniper’s little brain is full of wonder and keeps me constantly inspired and entertained. My boys don’t mind being photographed, but they have busier lives than Juniper does at this stage in life. The boys know about Instagram and I ask their permission to post photos of them. They like when I share about their birthday and get comments from all over the world wishing them a happy birthday. Juniper could care less. If it was her way I would only be sharing videos of her singing and dancing, so not happening.
N: Any closing thoughts, words of wisdom, or maybe a funny story?
A: Mobile photography has definitely changed my life. It almost sounds silly saying that, but it truly has. I think the most important thing is to remember to put down your phone/camera and live life. Life lived is more important than life captured. As long as I’m still having fun doing this mobile photography thing I’ll keep on keepin’ on.
You can find Ayanah on Instagram.
by Jeff Kelley | Jun 30, 2014 | Jeff Kelley, Stories
I approached Ken a while ago with the idea of interviewing him regarding his frequent ‘street portrait’ posts on Instagram. Ken, ever the one to deflect the spotlight, helped me come up with the idea of including some others, and what resulted from this was the following conversation via a Google hangout.
J: Jeff K: Ken O: Omar S: Shawn
J: So thanks for hanging out! Let’s start with basics- what city or town are you located in, and how long have you lived there?
O: I’m living in NYC right now… I’ve been here for a year now. Harlem.
S: Philly. However I have moved around a lot. I’ve been back since 2010. NYC (Park Slope) before that. I’m a Philly native, though.
K: West Philadelphia, about 10 years now.
J: For the purpose of this discussion I thought it might be good to define what a ‘street portrait’ is, versus regular street photography. Who wants to take a stab at it?
S: A street portrait is the capture of a subject [in public] with their expressed permission, in the portraiture format.
O: I believe the photographer must show clearly that there is (was) an interaction between the photographer and the subject. Where the main purpose is to say something specific about that subject. And yes, there needs to be consent in this case.
K: First I would have to say that everything is subjective and different people will have different definitions based on their perspective- but for me a street portrait takes place in a public setting and takes place with direct interaction between subject and photographer.
‘Sam Pugh’ by Shawn
J: Right. I just wanted to be clear as I’ve seen some photos labeled ‘street portraits’ which were really just pictures of random people, who had no idea they were being shot. How did you get started doing them? Did you start with candid street photos first? What led to the interest in street portraits?
O: I’ve always had an interest in people since I started photography professionally. However, if it was not for a job, I wouldn’t have gotten myself to do it… just as with regular street photography. Eventually I just decided to do it for my own work… first started doing street photography only, but living in Harlem, I knew there was something more I wanted to get from the history…so I decided to start this particular Sundays series.
S: My story is that I love candid shots, but at the same time I’m a chatty kind of person. So I would start with candids and work up a conversation with the subject to introduce myself and my project. The success depends on how the subject takes the work, and the forward nature of my request. Often times, it becomes a fixed point of reference – if I don’t get the portrait the first time, maybe I will the next time I see them. Comfort levels are a big factor. My interest simply comes from my love of meeting people and connecting.
K: I’ve always done them, I didn’t know they were called street portraits, but I’ve always stopped people who were interesting to me and asked for their portrait.
O: In my case I am not very chatty… I’m more introverted when it comes to strangers… so it was initially a challenge for me.
‘Odessa’ by Omar
J: Omar – can you talk a little more about the Sunday series thing and how it relates to your job?
O: Yes. As I said, I know there is a lot of history in Harlem and every Sunday people really come out wearing their best outfits and there is a stronger sense of pride and community. That’s how this series got started, I wanted to capture that. This, however, is a completely personal work and it’s not related to any other professional endeavor other than my personal work.
J: Got it. I know Ken has mentioned that Sundays are an excellent time to catch people.
O: It is… I also find people are less guarded.
S: Spring/Summer + Sunday = awesome shots. I like Sundays because there are fewer people around, and those few are more open – it’s an odd type of isolation.
K: I think it depends what you’re looking for. I am extremely conscious of how I present the people I photograph because at the end of the day they are trusting me with their image. It’s a gift. So I feel it’s my duty to cherish it. All of that to say, Sunday is a good day to capture people at their best.
J: Another thing Ken once told me- that this isn’t rocket science- you walk up to someone and ask ‘can I take your picture’ and they either say yes or no… While I’m sure that’s true, there must be some discernment on your end as to who will make a good subject. Is there any way to describe that process? And Ken, I like what you said about feeling some responsibility about it. I imagine that factors in to who you choose to shoot.
S: That process for me is simply going with my gut instincts. People who are friendly attract that to them. However, even shooting someone who isn’t necessarily ‘nice’, so to speak, is a chance to challenge yourself to get a great portrait. I’ve been in so-called ‘bad’ areas and gotten some of my best portraits.
O: Subject-wise, I look for people who catch my eye… either visually because of their physique, or by the way they carry themselves.
K: I work off of interest. If a person or scene is interesting to me, there is a hope that someone else might find the portrait interesting. It’s tough to explain why I might take a portrait of one person and walk past another.
S: I couldn’t say that there’s a formula at work for me, just interesting people in unique situations.
‘Nell Divine’ by Ken
J: What other factors are most important once you’ve gotten someone to say ‘yes’? Background or lighting, for example. What do you look for?
S: Light.
K: Always the light!
J: And do you guys often ask the person to move to a particular spot?
S: Light is everything. Sometimes, to get into better light [laughs]
K: Depends on the interaction. Sometimes the portrait is born out of long conversation and you might get a sense the subject is agreeable to doing more than stand and shoot. Other times you have to make the best out of the little time they’re giving you.
S: Truth. Getting the most from those who give the least – right, Ken?
K: Yes, but sometime I get the least from those who give the most.
J: Oh, can you elaborate on that, guys?
K: Meaning, I work off of vibes. The strength of the interaction, for me, leads to a better portrait.
S: Ok – sometimes you’ll come across a great subject and they’re only giving you seconds to work. You have to engage them in a way that creates that shot or lose the moment.
O: That’s an interesting point though… in my case, I usually try to be as fast as I possibly can… with the photo, and in the interaction. Since I know I am taking some of their time I try to make it as seamless for them as possible, and I feel that helps me and them to feel at ease.
S: That’s a good point Omar. I use the old gift of gab to ease them in and out of the moment.
O: What is that, Shawn? I mean what do you mean by gift of grab? gab*
J: [laughs] Gift of grab might not go over as well.
S: Omar- re: taking someone’s time… I use conversation to keep them at ease. [laughing at] gift of grab
K: “Come here, give me a street portrait!!!” So, that’s your technique! [laughs]
J: How about the editing process after- does the interaction you’ve had with them affect the way you may edit the picture?
O: Not really, in my case…I edit according to what I see on the frame.
S: Editing is best served up on small dishes. Meaning, I feel that editing looks great on Instagram and all; the printed work, not that much. The closer you get to natural 1:1 living scale, I believe one should use far less editing.
J: Makes total sense. Do you all shoot mobile only for street portraits? I guess I’m wondering if approaching someone with just a phone in your hand ever confuses them when you ask to take a picture.
S: I carry both my phone and camera – if I can evolve the situation to use the camera, then I do. Many people aren’t at ease with a real camera pointing at them these days.
O: No, I shoot with a camera (mirrorless, hence smaller )… I know people who do street portraits with the phone… but I know I’ve found some people find it more questionable when it’s with a phone.
‘Color run portrait’ by Omar
J: Interesting – so sometimes you think the phone camera actually makes them feel more comfortable, Shawn? And vice versa, Omar?
S: I read their expressions and go with the tool that makes them the most comfy. People pose differently with either a camera or a phone pointed at them, in my opinion.
O: It might also have to do with how comfortable one is with what you shoot with… meaning, if you are more comfortable with the phone, that projects, and the person feels at ease. I’ve always felt more comfortable shooting with a camera. I remember trying to use the phone on occasion, and people kind of gave a “REALLY, dude?” kind of look.
K: I love my little phone camera but I also photograph with traditional cameras as well. Regardless of the device, I feel that you as the photographer are what makes people agree to be photographed.
K: Although to be perfectly honest, when I have the traditional cameras a lot more people tend to ask to be photographed.
‘Philadelphia State of Mind’ by Ken
J: Right. It’s much more obvious what the function of it is.
K: I don’t get many “Hey you! Take my picture with that iPhone!” requests.
J: That sounds about right. And yeah, are the people who ask usually less interesting? [winks]
K: That’s the question isn’t it? I told you I work off vibes. The people who ask to be photographed are not always the ones you want to photograph.
S: You take requests?
O: I have been asked a few times. I normally comply, unless there’s something specific that might make me uncomfortable.
S: I can’t say that I’ve had requests on the street, phone cam or dslr. The only time that’s happened was at one of my recent exhibitions. But it turned out to be a great portrait. I love swapping between both camera and phone in the moment, to be honest.
J: Anyone have a pic on hand they want to throw out there? Maybe tell us a little bit about what happened? I know, I’m putting you on the spot…
O: I can share a story about that (people who ask to be photographed are not always the ones you want to photograph)…
Recently a woman on the train asked me to take her photo…she was with her children…I took her photo fast because it was my stop and I had to leave… Her kids got really excited but as I had to jump out of the train, they got really upset I didn’t take their picture… As soon as I got out I signaled them to take their picture in from the window… Their faces completely changed and one of them in particular gave me a really priceless expression.
‘untitled’ by Omar
S: I had a moment where I was doing a photo shoot with a client and then a man and his kids walked up and stopped on the corner to wait on the bus. The dad leaned perfectly against a mural of angel wings and the word ‘necisita’ over him… I stopped and asked him if I could shoot him – his kids egged him on to do it It was really sweet to see this guy crack his tough shell for his kids.
‘Need an angel’ by Shawn
S: A really lovely moment. He was mad cool about it. His kids were hilarious.
O: I like the text behind…do you know what it means, Shawn ?
S: “need”
O: Yeah. Plus the wings.
S: Like ‘need an angel’, is what I felt, he is their guardian angel/dad.
O: It’s really whimsical yet insightful.
S: He stopped right there and leaned. I couldn’t ask for better, I just begged him not to move.
‘Dr. Salaam Love, formerly of the Delphonics’ by Shawn
S: One of my favorite shots in the past 6 months is of Salaam Love, former member of the Delphonics. I saw him 3 times in one day in 3 neighborhoods before seeing him on my block, after a full day of shooting. He was sincere and effortless in front of the camera. We’ve stayed in touch since then.
O: Sweet.
J: So he is posing for you there? Looks so natural.
S: No, this is pre-pose.
J: But, he knew you were shooting…
S: Indeed, yes. I love the moments before and after a pose. They tend to be more natural for me. Works into what I like to convey about human nature: everyone is flawed and beautiful at the same time.
J: Well damn, that’s a great title for the article.
S: It’s also how I get my shots to be a little different then most.
K: Here’s my story. I’m interested in hearing your opinions, Shawn and Omar…
I was on Kensington Avenue in Philadelphia, a rough area by nearly any standard… From across the street I saw a man combing his long white hair. I imagined him as what Samson might’ve looked like if he’d never met Delilah. It was obvious to me that his hair was a great source of pride for him and I approached him and asked if he was making himself camera-ready for me. He laughed and said no, but told me I could take his picture if I wanted to. As I framed the shot, I watched all of the strength and glory I witnessed just moments before dissipate into what I can only describe as a look of posed despair. I’ve seen people change when the camera comes out, so at the time I didn’t think much of it and told him to go back to combing his hair so I could capture him in his full glory. He laughed and I saw a glimpse of what interested me initially, and I captured the moment. As I took down his information, a woman tapped me on the shoulder and asked if I was the photographer that paid people in the area $2 for their picture. She was clearly looking for $2 and wanted to know where the line started. I told her I was most definitely not that guy. Explaining to them both that I make portraits of people that agree to be photographed because they want to, not because I dangle money in front of them. Something about the practice didn’t feel right to me, especially in an area like Kensington where I’ve seen people do unmentionable things for a few dollars. If you’re going to help someone, help them out of a sense of altruism, not out of self service. I couldn’t help but wonder if his affected pose was a result of what he thought I wanted, or is this contrived reality just the way that some photographers go about getting street portraits?
‘Shaun of the living’ by Ken
O: Well, from a journalistic point of view, it is considered unethical to remunerate subjects for a story… I tend to follow that principle… I feel that dangling a little bit of money in front of someone for a personal gain is not the best way to go.
S: I’ve never paid anyone for a street portrait, and I imagine I never will. I believe in charity, and I have helped some of the people I’ve shot in ways that I won’t mention (for their privacy). To that end, I don’t shoot people who are homeless, or obviously mentally challenged. Paying for shots reeks of poor judgment and bad ethics.
K: I think you mention a good point about photographers exploiting situations, Omar. I think you have to be clear on why you are in the streets asking people for portraits. That is the first question to ask. If the answer sounds anything like fame, glory or an increase in ‘likes’ and ‘follows’, then pause. There’s rules to this thing here.
O: Exactly.
K: I respect everyone’s right to do things their own way, but I think there is something to be said for being upright in what you do. Helping those that need help is one thing, but tit for tat is something else.
J: Well I think this wraps it up. Any of you have any questions you want to add? Any closing comments? Sage advice?
S: Stay humble, friendly, and open toward people and you’ll get better shots.
K: I hesitate to give advice because I don’t know that it would work for anyone else but I would encourage people to stay true to themselves. Authenticity is currency in the streets (not your business card or the size of your camera). When you play for(to) the crowd you ultimately play yourself. Every street portrait that someone allows you to make is a gift, treat it as such.
O: Ditto… I’d add this… make sure you know your craft before you get yourself to do it. You’ll be more effective and give your subject a better experience if you “look” like you know what your doing.
S: There it is!
O: It’s been a pleasure chatting with you gentlemen.
S: Yeah, this was pretty cool man.
J: Really appreciate you guys taking time to do this. Perhaps we will meet some day, after all we aren’t that far.
Ken
West Philadelphia-based image maker.
Instagram
Shawn Theodore
My photographic method has been based on a personal interpretation of existentialism as portrayed in Ralph Ellison’s ‘Invisible Man’ within the modern urban environment, while employing the influences of artists Aaron Douglas, Barkley L. Hendricks and Romare Bearden. I’m not an activist or photojournalist, I am an artist who is passionate about the perception of the people within my diaspora.
Instagram || Facebook || Vsco
Omar Robles
My first connection with visual storytelling was in fact through the art of mime theatre. I had then the privilege of studying under the tutelage of Marcel Marceau at L’École Internationale de Mimodrame de Paris Marcel Marceau. Later, as I went to college to acquire my B.A in Communications and Arts, I discovered in photography a new way of telling stories without words. With photography however, I could immortalize the moments for a little longer. I have since explored as many areas of photography as I possibly can. Amongst all, I’ve found an immense passion for photojournalism. Some of my clients include lifestyle magazines Latino Leaders , Metro San Juan & most recently the Chicago Tribune’s Hispanic publication Hoy.
Instagram || Website
by Paula Gardener | Jun 26, 2014 | Stories
As a portrait photographer, I am always inspired by other photographers that have the ability to capture a portrait that is so compelling and thought provoking. It is a rare gift to capture the essence of a person within a photograph, really touching the hearts of those that view the portrait.
I would like to introduce to you, a photographer that does this very thing, his images are so beautiful and raw. Harsh in presence, yet emotional while inviting you into a very personal space.
I have always loved his work, so it is my honour to share with you all, Patrick St-Hilaire.
PG: Paula Gardener PTSH: Pat St H
PG: Tell us about yourself and your life as a photographer. What inspired you to become a photographer.
BSP: I live in Sherbrooke, Quebec, Canada. I’m a blacksmith, married to my best friend for 20 years now. Father of four beautiful girls. Mainly I take pictures with my girls. We work a basic idea together and then go out into our fields or forest where we create it. Most of my photos are set up which gets my models impatient a lot of the time, hahaha. Sometimes I just grab my camera and wonder about watching my girls playing. I started photography when I was 19. I tried to make a living back then with fashion, dance and some other stuff. I wasn’t to successful with it so after a few years (6) I decided to do something else. I met my wife and we started to travel then had kids blab la bla… then two years ago I bought an iPhone and discovered mobile photography through iPhone Art. I was very impressed, but wasn’t satisfied with the result. I then got a camera and here we go, got my result. I’m from the dark room era so I work with black and white. I learn every thing back then in that dark room. Spend hours in it experimenting with negatives. I just try to transpose that black and white into my digital work, pretty basic. My approached is pretty artistic, I think the possibility to capture a moment and fix it to a beautiful paper was an amazing thing . So I gave it a try.
Winter Rose
PG: When I first saw your portraits I was taken back by their rawness. The harsh contrast monochrome tones, yet transparent in the story they tell. What would you say is your style of photography?
PatStH: Ouff that’s when it’s hard for me to be an artist, try to describe my work… I guess I’m a portraitist. I try to have that fairytale rendering, the black and white is really useful for me to capture that atmosphere.
PG: Is their a particular message you’re trying to convey to those that view your work.
PatStH: It is pretty hard to make people believe what you want or give a direction to those who observe your work. My pictures definitively tell a story, our story (my girls and me). The reactions of the viewers fascinate me. Taking pictures that involve kids make people uncomfortable yet curious. When I create a reaction I then think we did it good. Don’t forget that most of the time the picture you see is created by my girls. They speak their language through that picture. I guess the secret side of childhood is something I try to achieve.
PG: I love the way your portraits tell a story, especially those of your children. Their characters are so pronounce within your photographs. What is important to you when capturing portraits.
PatStH:The secrets that nobody will never know. The eyes are the center of my pictures and the light. I’m pretty obsessed with the light, the natural light is for me the best one to work with. A cloudy day just before the rain or when the sun is just about to go to bed.
Sisters: After taking the pict of her sister Angélique told me that she really wanted one with Scarlett, together . The light in the room was beautiful and they just took that pose. I never publicised the picture. It actually created quite a discussion between a few friends. Made them react. I now decided to publicise it.
Pure Sunlight: With this one we wanted to create a sun with Scarlett hair.
Le reveil: Angélique right after an afternoon nap. She is sitting on our couch the light was coming from behind. Natural light.
On duty: Mae-Rose just got herself a camera. She is really please. She is a very good photographer and like me she rather be behind the camera then in front of it. We had fun in the forest , can you tell ?
Franny: Lily-Fae was in the poney’s field with Franny. The poneys just arrived after being boarding for the winter. She just did that move and I clic.
PG: It’s fascinating to know that your portraits of your daughters are composed by them. Stepping into the imagination of a child’s mind is wonderful. What do they say when they see the final image, have you captured the true essence of their thoughts?
PatStH: They’re not impress most of the time, hahaha. They appreciate the light in it. They also like the dramatic aspect of the result, they love what I do with their eyes, the editing in general, there is always a girl with me when I edit my picture. They like when people ask questions about my image and most of all they love to hold a print in their hands.
PG: You started using the iPhone, now you’ve return back the using a conventional camera. What camera and lighting set up do you use, to create that magical wonderland feel within your portraits?
PatStH: I now use a mirror less camera, Fuji X-Pro1. I love working in natural light, a cloudy day if possible. We live on a mountain so the light as something special I guess. I also take picture in the forest. When I do work indoor we have a lot of windows in our house so near a window is a nice spot. I also work with a flash sometimes. One flash is ok for me. Nothing to fancy so the model doesn’t feel to shy.
Fae
Easter Hunt
PG: Do you have any projects lined up for the future. Exhibitions etc that you might want to share with us. I would love to put this in, to sum up the article.
PatStH: No future Projects at the moment. My blacksmithing job keep me pretty busy in the summer. I’m working on a book at the moment but that is on a back burner for now. Also putting a portfolio together and will present it in fall. Maybe an exhibit in the fall as well but nothing confirm at the moment.
Merci beaucoup Madame.
Find Pat’s Work
Flickr // Instagram
by Sam Smotherman | Jun 26, 2014 | Stories
To understand where Chloe is now you need to understand where Chloe began her journey and where it is headed. The Reinvention of Chloe is a collaborative effort by much of the Grryo team to realize a dream our dear friend Ale began before his death. We do hope you enjoy the journey.
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It was undone. It was all undone when she saw the letter she never sent.
The healing that had happened, the emotional scars and the spiritual calluses that had formed were undone.
All of the hurt and pain she had suffered throughout the months and years were now all opened and bare.
Now no spaces existed between the hurts she felt. She felt them all fresh. All simultaneously.
She was undone.
by Brad Puet | Jun 25, 2014 | Brad Puet, Stories
The Departure
It was her.
Fleshed out – singed onto
cresting waves and backs of turtles
Wenatchee and Kalakala
Bremerton, Bainbridge Island, and Chief Sealth
like San Pedro, Jerome, and New York City
The metaphor upon wings
she took on as her shield
her heart beats lashed out
onto the unlikely
canvases of skin.
Elders have traveled these waters for centuries.
Elders have danced with the Seattle skyline for centuries/
The little children chasing their shadows upon the history
of the districts they will soon inherit
her pulse is deafening
she, well
she is an adjective of life.
A simple description left to complete the imaginations of her children
she writes them out, pen to pad, screaming lead onto sidewalk heavens
scribbled and etched
And these waters have cracks on the crevices she said
Canvasses of poetry wrote life she said
From each smile to every fallen tear, i watched them fight for peace
That first time
And it was beautiful
Shouts shuddered the unhidden blanks of space
even reaching the darkest of memories
Fondled each thought into circulation
she became the word
and I was unsure of the bullet each noun and verb
she had committed too
And she shouldn’t have anything to worry about
Because of her
We will always just listen
She spit spat drip drops of justice that rewrote bible hymnals and amended bylaws
She said “They will run this world with just their innocence
They will run this world with just their poetry”
And we claimed our existence in this infinite time continuum
While the walls were tagged heavily with FAT markers and spray cans that
they told us not play with
And the irony is we didn’t listen.
She told us not to
So we poets became the voice of unheard and forgotten ancestors
Scriptures that were embedded in the thralls of history
In the hallways of our rich and native stories
She helped us give composition to the faceless movement thru poetry
Independence not vengeance she said
Monstrous redemption not silence she said
Fingers strewn tightly grasping the earth,
Sweat, embossed upon the backs of those who left, and came back
Whose tear drenched, blood drenched linen are
Written gloriously upon mother earth
Its salty texture it became
The texture you feel off of an immigrants sun-scarred skin
The texture you feel when wiping your eyes of the tears she said not to shed
You can be whatever you want she said
And we are because of you.
And we are because of you, i shout this believing in our beauty, the undying love for shedding leaves in hopes to become something even more beautiful so this change we held in for centuries fearful of letting it be known that it was destiny’s calling to release these
Pent up
Need to
Be free
Reach out, share truth, believe
You are, it is, redeem
Be it, be that, teach me
Teach you, teach me,
Teach you, be free
So together we beat words into equations
Matrices turn matriarch
Matriarch live equality
She sent shudders down our spine
With each breath she gave
She loved thoroughly without anything less than pure conviction
And hindsight lessons of
Love and hate of
Heart and mind of
Meaning and shallow aesthetics
You see she fought off of the bones of history
You see she fought off of wanting and needing truth
You see she became the truth once given the chance
So together let us
notice the roots off of the trees, gnarled, exposed to the elements, and watch as it
hugs deeply sincerely,
as we all cling for dear life,
grabbing hope and love
and the blue and green earth, our beautiful earth
like us
we will always remain struggling and fighting to stay alive
while we wait for
the departure.
Rest in Power Yuri.
*For Yuri Kochiyama, May 19, 1921 – June 1, 2014
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Yuri Kochiyama was born Mary Yuriko Nakahara in 1921 and raised in San Pedro, California, in a small working-class neighborhood. When Pearl Harbor was bombed, the life of Yuri’s family took a turn for the worse. Her father, a first-generation Japanese immigrant, was arrested by the FBI. When President Franklin Roosevelt signed the Executive Order 9066 ordering the removal of persons of Japanese descent from “strategic areas,” Yuri and her family were sent to an internment camp in Jerome, Arkansas. Due to these events, Yuri started seeing the parallels between the treatment of African Americans in Jim Crow South and the incarceration of Japanese Americans in remote internment camps during World War II. Subsequently she decided to devote her life to struggles against racial injustice.
In 1946, Yuri married Bill Kochiyama, a veteran of the 442nd Regiment. The couple moved to New York City where her political activism would flourish. They had two girls and four boys; most of them would become actively involved in black liberation struggles, the anti-war movement, and the Asian-American movement. In 1960 the family moved to a low-income housing project in Harlem. Yuri and her family invited many civil rights activists, such as the Freedom Riders, to their home gatherings. They also became members of the Harlem Parents Committee, a grassroots organization fighting for safer streets and integrated education. In 1963, Yuri met Malcolm X and they cultivated a friendship that would strongly influence Yuri’s political career. Yuri had been listening to Malcolm’s speech when he was assassinated while speaking to the Organization of Afro-American Unity (OAAU) members. Yuri’s keen interest in equality and justice led her to work for the sake of political prisoners in the U.S. and other parts of the world in her later years. Yuri was nominated for the Nobel Peace Prize in 2005 for her tireless struggles against imperialism and racism.
Yuri Kochiyama died on June 1, 2014 in Berkeley, California. She was 93. (Blackpast.org)
by Anna Cox | Jun 23, 2014 | Anna Cox, Stories
In today’s society a storyteller’s function has many faces. In the past it was the storyteller’s important duty to pass on knowledge to help his or her people survive. They passed on their history, traditions, beliefs and identity. In modern times a storyteller is so much more. They still tell stories of our history, traditions and beliefs but they also provide entertainment and educate us
Today with the coming of the digital age each person is able to tell their individual stories sharing them with a wide audience. We want to help others with our knowledge, amuse them and share our experiences.
Stories entertain us, help us understand each other and give us a sense of belonging. We share our experiences with others and read about others experiences to make sense of our
lives, showing us we are not alone. Stories can give us a sense of hope, help us connect with one another. They can show us that happy endings are still possible.
In the past stories were passed on orally and later with books. In the modern age the passing on of stories continues thru books, magazines, newspapers, online and orally. For even now a person who can tell a great story is much beloved. They say a picture is worth a thousand words and in today’s digital age another way to tell stories is thru pictures. With the advent of the mobile phone/camera everyone can be a storyteller. A mother telling the story of her family thru pictures. Someone telling the story of an important event because they had their mobile camera with them. Stories of love, pain, beauty and joy.
Storyteller’s are still very much alive and well and needed. With so much human turmoil, so many people connected in the digital age a storyteller can show you the harsh realities of life whether real or imagined
or the possibilities for the future.
by Bridgette | Jun 20, 2014 | Bridgette Shima, Stories
Open Road with Josh Johnson by Bridgette Shima
If you’ve been on Instagram as long as Josh Johnson has been, then you can pretty much say that you’ve been around since day 1.
JJ runs one of the most active communities on Instagram. He and his team post daily challenges, features, tips and more. His involvement within the app is over and beyond – all because of his passion for photography and his love for Instagram.
I got the chance to meet JJ in person Wednesday night along with Kevin Kuster and the FIAT crew. Seattle was the first of their four city tour throughout a five day course. Photographers met near the EMP and walked around Seattle Center taking photos while getting in a few words with JJ.
Personally, I wanted to see for myself who the man behind the JJ name was and find out what he’s been up to since his last interview with Dave. I have to say though, that I wish we had more time to talk. There’s way more to JJ than what you read here…
Did you ever imagine you would become such a well know figure within Instagram? How do you keep going strong?
It’s all due to the power of the app itself – the ability to share and interact and be creative. From personal experience, I remember taking pictures with film. Shooting the pictures, taking them to the drug store and picking up the photographs and showing them to my my friends. I was proud of what I did. I messed around with different filters, the whole process was exciting. Now take the work that goes into that process and cut down the reward into minutes and seconds. Snap the picture and get the reward right away by people appreciating your work right away.
I already had experience doing workshops so I decided that this was a big deal and I wanted to be a part of it, so every day I put in a little something.
My success is due to my passion and consistency; the way that Instagram works resonated well with what turns me on and because of that I’ve stuck with it. I’ve been lucky enough to have been with it from the beginning.
We both know that it’s not just about the photos, it’s about the community as well. With so many people that you engage with, how do you keep that under wraps? Do you have time for an online conversation?
I take the whole process very seriously. This is what I do. This is my job. I don’t take any one piece of it at a time very seriously.
How do I not get overwhelmed? I recognize that I use Instagram very differently than other people. There are very few accounts and relationships that I think long and hard about protecting. Whatever comes across my screen I pay attention to. I may not interact with a conversation but I will repost images on my account even though I’m not commenting on a lot of pictures. I do make up for this by participating in other ways.
What’s your criteria when featuring photographers?
For me, I would be the first to say that a huge portion of it is personal esthetic. #1 would be for the subject of the image to be clear and relatively isolated – it’s about cutting out the background and distraction. It feels good to me when I can look at an image and say to myself, this photographer knew what they wanted me to see and took the time to frame it and expose it accurately in a way that makes it easy for me to understand what they’re trying to say. It feels like it’s been thought out and given a little bit of love.
This even includes street shots. This means that the person that shot the image thought about the background, and even though it looks spontaneous, the street photographer deliberately wanted to catch that moment in an esthetically, pleasing way.
I want to find pictures that have a clearly defined subject.
Tell us about “collaborative marketing”. How are you making it work for you?
I want to do something significant, to make an impression in the world.
A lot of times the opportunities that we get to make this impression happen when there’s change. There are changes happening now that can lead to something significant where our creativity is being sparked because of technology and more specifically, mobile technology.
There used to be a certain amount of experience and effort to be a photographer ten or fifteen years ago. There was the purchasing of the camera and film, whole process of shooting the picture and having no idea what it was going to look like and not being able to see it for three or four days. That’s what it took to realize the creative buzz.
Well, nowadays you don’t have to buy a camera because it’s in your pocket. You don’t have to buy film because it’s obsolete. You don’t have to learn about exposure because you can look at your screen and either it looks good or it doesn’t. And so, we’re saying we’re looking for change and the opportunities to make a difference. People that didn’t see themselves as being able to feel that creative buzz, because they didn’t have the time nor talent, can now get it on Instagram and feel creative and feel good. And I think this is happening to a lot of people. There’s an opportunity to help people through that process and to lead during this change. And this is what I want to do and how I want to position myself and my company.
2nd opportunity is anybody that’s in the marketing world will say that everything is changing. Certain rules don’t apply anymore. There’s been a mixed bag when it comes to internet advertising. I think maybe the human brain has the natural ability to block out ads. Marketers don’t know how they’re going to connect with us consumers down the road as this trend continues. There are billions of dollars out there that used to go towards, and not necessarily, into making this world a better place. And because the rules have changed, society has the opportunity to reset the rules. We get to decide for ourselves where these billions of dollars go.
As a community it’s fairly easy – we want to make connections, make friends and meet each other face to face. This is the very beginning. I’d like to see this grow and grow.
I’ve seen it with Alt Hotel, now that was a huge success!
Right, we had over 100,000 images submitted and 5,000 on the wall, sponsored by Alt Hotel and Polaroid.
People will have this experience for a lifetime, to say that their photo was part of an art installment is worth more than an ad somewhere.
Engaging with the community is about creating relationships, which is much more valuable than paying for 30 seconds to try to convince someone to buy a product. 
What do you see happening with this new wave of marketing?
Marketing is more and more about relationships.
Companies are starting to avoid talking about their product. This is because of their existing relationship with the community and the presence they have already. It’s about catering to their experience.
Do you get tons of partnership offers?
We’re not especially active trying to get business. People find us. We focus on community more than anything.
Who’s on your team?
There are 4 of us on the core team:
Kevin was the 1st person I was in contact with, he emailed me about two years regarding the shooting at the Colorado movie theater. He reached out asking if we could do something and from that interaction, we kept in touch. I was at a point where I knew I needed a business manager, which is what he does, running these kinds of events. He was the first person I brought on the team to take it to the next level.
Emily is my Director of Operations.
Michael is a lawyer and he handles the books.
Tell us more about the Open Road Challenge with FIAT.
This is our second one. The first was last fall and we went from Chicago to New York, 5 different cities total.
It’s a photowalk tour to bring everyone in the community together to meet face to face, take pictures and have a good time. We’re driving in a FIAT and they’re giving away a car. Last year there was a nomination process and there was a team which chose some photos to post for public voting. This year, it’ll be done differently.
Tag it with one of the daily hashtags for a chance to win. For example, #fiatwaterpromo.
Enter as many images as you wish – @littlecoal won it last year!
Have any future projects you’d like to share with us?
We can’t announce anything yet but we’ve got a couple of accounts that we’re working on.
One final question… which company would you dream of working with at the moment?
Roadtrek Motorhomes. I lived in a Roadtrek Motorhome for about a year, ten years ago. I’d love to spend some time in another one. How about a giant caravan trip?!
Josh Johnson and his crew are currently touring the west coast.
For complete details please visit his Instagram gallery to find the meetup location nearest you so that you, too, can be a part of the Open Road event!
Thanks to FIAT and the JJ team for putting Seattle on their map. We had a GREAT time!
And, if you ever get that RoadTrek Motorhome, be sure to reserve one for us! ; )
Image by Bridgette Shima
A special shoutout goes to Michaela with Instagramers Seattle for getting the word out.
To see more photos you can check out the hashtag or Facebook album.
Find Josh Johnson: Instagram | Website | twitter
by Todd Leban | Jun 19, 2014 | Stories, Todd Leban
To understand where Chloe is now you need to learn where Chloe began her journey and where it is headed. The Reinvention of Chloe is a collaborative effort by much of the Grryo team to realize a dream our dear friend Ale began before his death. We do hope you enjoy the journey.
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it was never sent…………but it could have changed everything.
Written in haste, but every word genuine. An outpouring of curse words and familiar terms of endearment riddled with the sting of sarcasm. Each stroke of the pen impressed so hard, that it could be seen in relief on the opposing side.
It still sits in this exact same spot. Neglected along with the emotions that brought about its existence.
We forget how much the past has an effect on the present until it comes back around to stare us dead in the face.
by Grryo Community | Jun 17, 2014 | Stories
From Artware, Inc. comes, layrs, a multilayer photo-editing app for the iPhone that allows users to edit mobile photos with the same results as if they were editing on a computer, using an advanced/professional photo-editing program. Since its launch, layrs has had more than 1.4M downloads and has an active community of photographers who use layrs on a daily basis.
The ability to separate a photo into layers provides the capability to extract an unlimited number of layers from a photo, combine objects/layers from one photo into a another photo and edit each layer independently.
Once a photo is separated into layrs, users can then edit each layer with different features of the app. For example, using the focus blur on the background a user can simulate shooting with a narrow depth of field. Or by using the horizontal blur, shooting with a slow shutter speed can be simulated. Any portion of the photo can be tuned or enhanced by adjusting saturation, exposure, heightening the contrast, temperature and hue. In addition to fine-tuning features, users have over 30 filters to choose from ranging from subtle moods, vignettes, various textures to some drastic effects such as simulating shooting with a fisheye lens.
Further transformation of a photo can be achieved by replacing the background of an image, duplicating an object or extracting objects from one photo and placing them in another photo allowing users to create composite photos.
With the most recent addition of 19 blending modes, users now have the option to play with multiple exposure blending. The layrs community have experimented nicely with these various options, producing creative works of digital art that have given rise to an artistic genre that can truly be considered the next movement of our time.
Follow Layrs:
Instagram // Twitter // Facebook // LinkedIn
Download Now for Free on iTunes
by Brad Puet | Jun 16, 2014 | Brad Puet, Stories
Storyteller Series: Matthew Wylie by BP
As a member of Grryo, I frequently look through the hashtags of #wearejuxt #mobilephotography and now #grryo on all the social networks. First I find it interesting to see what people would share on these tags and secondly its a great way to meet creatives who share commonalities through mobile photography. The new Grryo tag already has over a 1000 photos in a few days and I totally gravitated to a handful of photos that were posted on Instagram by Matthew. I wasn’t the only one as that same day, Anna (who is also an editor of Grryo) hit him up for an interview. Needless to say, Matthew’s work is amazing and great and all things awesome and we wanted to share with our readers this storyteller from Toronto!
BP: BP MW: Matthew Wylie
BP: Tell us where you are from. Tell us about your family. Tell us about your non-photo inspirations (other artists, books, etc.).
MW: I’m from Texas, where I spent most of my life. My blood family is there as well, but I have been living and teaching in Canada for the last seven years. My professional background is in literature and writing, and, since I was a young kid, I have always been very drawn to stories, words, and art in general. In terms of artists most important to me? – Nabokov, Kafka, and Borges. The enchantment that each of those writers can place on words, symbols, and the story itself has always been magical to me. So, that general aesthetic definitely influences my work. And of course Rainer Maria Rilke, his “Letters to a Young Poet,” – this work has always been such an important influence on how I approach the world and my art. The line “if your daily life seems poor, do not blame it; blame yourself, tell yourself that you are not poet enough to call forth its riches” is particularly inspiring to me and I certainly use this as a constant motivation to find, see, document, or create the beauty and mystery that’s out there, every day.
“The struggle itself towards the heights is enough to fill the heart. One must imagine Sisyphus happy.” – Albert Camus This photo was taken in Toronto, where I live. It was shot during the very difficult and long winter we had this year, with about 6 months of bleak, blistering cold days. I was on my way to the market when I noticed this massive billboard with the hand and I saw the subject approaching. Her body movement, her face – it just all embodied what I think we were all feeling about the winter and, despite its brutal nature, she was braving it. It was such a testament of the human spirit and I was immediately reminded of Camus’ quote on Sisyphus (see “The Myth of Sisyphus”) regarding the idea of finding meaning in the struggle, of forging our own authentic meaning, despite the absurdity and harshness of our daily lives. Meaning is not out there to be found. It exists within ourselves, as Camus intimated, and I feel like this photo illustrates that tenet.
“This will never end because I want more.” – Fever Ray Taken in Toronto near a playground where I work and pass by daily. The boy was playing with a stick as if it were a gun with his peers and I was able to walk past and capture one from the hip that. While it took a bit of editing, it ended up working and conveying this mad, beautiful sense of energy, maybe even angst (?). The audacious look on his face reminded me of the lyric from one of my favourite bands, Fever Ray. I love the coupling of the mood with the song – again, the creative exchange, at least for me, lends itself to other mediums and this one was musical in nature.
BP: How’d you start in photography and what brought you into the realm of street photography?
MW: Oh, I’ve always taken photos – I’ve just never owned a good camera. Like, I would go through Kodak disposables weekly during high school, and then moved on to cheap, handheld digital cameras that just took horrible photos! I had a Polaroid that was fun in university, but the film cost too much for me to naturally produce. Visual imagery, especially photography, has always been special to me though. I could never draw or paint very well, but I could take pictures, so that was my visual medium. However, I didn’t get serious with my work until recently, like within the last year or so, when I got my first iPhone (the 4S). That totally changed everything for me. I now had this tool in my hand that could complement my vision and help me communicate the way I’ve always wanted to and knew that I could. What got me into street photography? I’m not entirely sure, really. I have always been drawn to artwork that is a bit raw, or . . . at least not traditional. So, I think that has something to do with it. Once I started exploring the genre and seeing what others have done with it, I just knew it was what I wanted to pursue. I don’t want to call myself a “street photographer” though. I think I just use the streets more than any other subject to tell my story, or to capture the type of images I am seeking to capture and convey to others.
“Symmetry is what we see at a glance.” – Pascal Taken in Paris, France. I adore this photo because it illustrates Lange’s quote (see above) but in a different manner. When I originally saw this photo on my phone, it didn’t look like much, but after seeing it on the larger screen, it itself up to me and I was just so swept away with what I didn’t initially see in the photo. This all speaks to a larger issue I think regarding the way technology, particularly viewing art in a variety of mediums, can change the way we appreciate the aesthetic qualities of a piece of art, especially a photo. For example, oftentimes, I (we) have taken a photo and, while it seems decent on the iPhone, is only mediocre when viewed on a larger screen. However, does that discount the original aesthetic moment we shared with our first viewing? Since these are primarily digital images we are dealing with, can we not speak of a multiplication of the same image, depending on the medium it is viewed in, e.g. iPhone, iPad, Desktop, a blown up piece for a gallery wall, the way we remember the image weeks later?
“Maybe all men got one big soul, and everybody’s a part of it—all faces of the same man, one big self. Everyone looking for salvation for himself. Each like a coal drawn from the fire.”- Malick Taken in Toronto. I have always been drawn to Terrence Malick’s films. They read like filmic tone poems and this capture / edit to me encapsulates a line from one of Malick’s best, The Thin Red Line. The irony that, for me, the act of going out in the streets is such a solitary endeavor, yet, that the final outcome can provide so much connection to others, either through social platforms or whatever, is just wondrous. To the wonder . . .
BP: Your photos are captivating, as you automatically think as a viewer, “what is the story here? What is the artist’s message?” Explain to us a process for you to achieve this connection to the viewer.
MW: Thank you for that! Well, to be honest, I am not sure it is something entirely, or even remotely, conscious. But I do think of it as an exercise in reading. In my writing courses, we often discuss the concept of reading images as texts, and learning to read well is essentially the same thing as learning to see well. The world is full of texts and subtexts and sub-subtexts – just layer after layer after layer – and these texts aren’t simply written, but visual as well. We read images as texts and we’re not even conscious that we’re doing so. We’re always reading – at least those of us who are looking. So when I am out on a walk through the streets, I am constantly looking for that text that my camera will capture and will, hopefully, be able to communicate something, even if it is a recognizable emotion, or a memory even. In terms of my connection with the viewer, I am, with all due respect, never thinking of the viewer. I am not thinking a lot, actually. Just scanning with my eyes the building blocks for the story, which could range from another actual human being to a shaft of light in an alleyway to the colours in a window reflection. Once I have these tools, then I think we can begin the sharing process. I guess . . . think of it as if I have read a story and want to retell it to you. This is what the photograph is. It’s a retelling of a visual I was witness to. Once I share it with you though, it’s no longer my narrative; it’s yours. And this is the beauty of storytelling, whether with the written words or with an image. The narrative is never static.
Series: Where are you going, where have you been?
Where are you going, where have you been? This was taken in Toronto in a neighbourhood that is primarily inhabited by Hasidic Jews. It is a difficult area to photograph in for various reasons: as a visible outsider, it is far less easy to be invisible, there is a heightened sensitivity on my part for what I am capturing and not capturing, and then this sort of strange, somewhat eerie feeling of unease portrayed in the body language of the community members themselves, partially due, I believe, to a series of anti-Semitic acts / violence that the neighbourhood experienced a few years ago. The area is also not very busy, so attempting to blend in is impossible– and thus eye contact is rarely made, subjects increase the pace of their walking compared to when in the heart of the city, etc. With this particular shot, I was about to turn in for the day when I noticed the boy approaching. I did what I do and he simply looked right at me and was the only person to make eye contact with me that day. After the shot, we continued to make eye contact until he rounded the corner of the building. The moment felt special – contact had been made and it was positive and felt mutual.
Where are you going, where have you been? Again, part of the series I spoke of earlier. This is dedicated to Saul Leiter, one of my favourite photographers and one whom I am only beginning to delve into thanks to a friend (Dan Cristea @konstruktivist) introducing me to his work. This is simply my attempt at seeing the world as Leiter did in his photos. If you don’t know his work, my God. LOOK! The woman in red later led to a short story I have begun writing about a girl who can swim through glass.
Where are you going, where have you been? Taken in Vienna, Austria. The North by Northeast departure of these two subjects just begs for a storyline, perhaps one of tragedy, but perhaps not without love? The man will assuredly die.
Where are you going, where have you been? Taken in Toronto. I have not finished with this photo yet…but she will most assuredly become a character in a story soon, or a poem. Her look is music to me, Chopin maybe , and she’s looking to leaving.
BP: Your series “Where are you going? Where have you been?” is an interesting one. Can you tell us more about it and your expectations of this series as you’ve listed it as one of you favorites? Altogether, do you feel you’ve accomplished your goals?
MW: Sure! So, this series basically centers on the relationship I explore between creative writing and photography. I will usually use the streets to inspire something in my writing, such as a character, a setting, a mood, or even conflict itself, if I’m lucky. Most of my photos feature human beings who are, usually, in movement and going from one place to another. I like to pose the question, once I’ve found an interesting moment or subject, of “Where are you going? Where have you been?” – and use these questions to lead towards some type of narrative, something tangibly poetic that I can fashion into a story: “Where are you going? Where have you been? Do you believe in God? In suicide? When you arrive at your destination, will you be greeted with a parcel, a bomb, a kiss on the lips?” – and on and on the process can go, depending on the actual shot I get. So far, it’s led to a few short stories or sketches and bits of poetry I have written, but nothing definitive, and I’m not really interested in that right now. The point is that I use this exercise as a way of shooting and a way of making the creative process between writing and photography both cyclical and reciprocal. One day, I will probably put together a handful of photos and texts that they inspired together in a formal portfolio, but I am not there yet.
“The camera is an instrument that teaches people how to see without a camera.” Dorothea Lange While I have been taking photos for over 15 years, I never had a serious camera until I got my iPhone 4S. Since then, I began taking my photography and my approach much more seriously, simply because I had, for the first time, a tool that could compliment my creative vision. This Lange quote has always resonated with me because it’s just so true. Photographers and visual artists may be equally cursed in this way, but my, what a blessing it is to be able to see magic almost everywhere you look. . .
“Over” “Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return.” – Leonardo da Vinci
BP: Who are your photographic inspirations and why?
MW: Well, hm. That’s hard to answer. There’s quite a few photographers whose work I admire and adore, both living and dead, e.g. Bresson, Gordon Parks, Saul Leiter, Vivian Maier, Dan Cristea, Markus Anderson, Amy Leibrand. But I think in terms of inspiration, it is this whole, revolutionary concept of social photography that we are bearing witness to as we speak. I mean, we are witnessing the democratization of the visual arts in a way that simply has never been seen before. Sure, there are criticisms to be made about the infinite flux of images – I get that. But you can’t deny the beauty and hope in the fact that more people have access to art and to tools to create visual arts than ever before! Photography, film, visual images – these are not just the fields of the privileged or experts or well-educated anymore. Anyone with raw talent who can afford a phone canget out there and do some absolutely amazing things with these tools! And not just that, but they can discover and reach out to other artists so easily, like we are doing now – they can learn from others, so purposefully– and all through the same device that they are using to create with! Like, ####! I think it was Koci that called this a “golden age” of photography and there just may be something to that. I mean, to think that this genre, photography, the arts, visual narratives, is so accessible to so many people now and the dialogue has grown so exponentially in terms of sharing ideas and inspiration – I think we are witnessing what will most assuredly be remembered / studied as an era of visual art production like the world has never seen. That’s just incredible to me! I just hope we embrace it now and continue to evolve with it. Think about it, can you imagine being able to travel back to the 16th century and say, “You guys are in the f###in’ RENAISSANCE! Do you get what that will mean later?” – I want us to look at what we, as artists, are experiencing now and see it as something that is significant in terms of the evolution of art in our society, rather than just a trend. And to think we are doing so much of this together! All of this, I feel, is spawning some brilliantly creative pieces and artists, which, again, begs reflection: we have the chances of seeing not just a handful of great photographers a decade, but hundreds, maybe more! This is so beautiful to me! And people are creating, producing, and communicating so prolifically. This doesn’t mean that everything is brilliant and I get the argument that art could grow saturated as a result of the influx, but who wouldn’t rather have more artists than fewer? The argument that the influx makes art less special is absurd to me because what you’re really stating with that is “there’s really only a limited amount of beauty out there to produce, or, there’s really only a limited amount to say, etc.,” which is illogical! Beauty isn’t finite, and neither is art. And let’s not get caught up in being ‘original,’ because, really, what has that EVER meant? I believe in raw creativity, and contemporary photography, especially mobile photography, is so very exciting to be a part of and witness right now and I’m excited to see where it takes us next. Again, just the fact that more people have such a powerful artistic tool in their hands than ever before – that’s just so inspiring and promising to me!
” . . . and I have not told half of what I saw.” – Marco Polo Taken in Toronto. This photo represents the inverse of the creative writing process that I spoke of earlier. For example, sometimes, I will take a photo and use it as a means to have me explore things I have read in the past. The ability to synthesize like this, between words, an image, and my memory, is quite interesting to me. I ended up with the Marco Polo quote and couldn’t stop thinking about it all night after the photo was taken. To think that Marco f###in’ Polo made such an utterance about the ‘discovery’ of a continent – and then to parallel that with the myriad of moments a photographer sees while out and about – and we only probably catch a fifth of what we see, for whatever reason. There is so much fucking beauty out there . . .
The Water’s Edge As Gabriel Garcia Marquez has taught us, sometimes light is like water. Sometimes, you tip tap into it, while at other times, you dive. Regardless, the pools are always there, wet, bright, and waiting for you. Please see his short story by the same name for advice on how to master the science of navigating on light.
BP: For new(er) street photographers, what advice do you have for them? Please provide any technical and artistic advice.
MW: Well, I am in no place to give advice, as I am still learning myself! But I can offer advice that I’ve either been given or just learned to give myself as I’m developing. So, shoot a lot! Shoot every day and learn from your mistakes, as well as others, even if by observation only. Study light and learn to make it work for you. Shoot for one month in the same hour of the day and do this for all of the day light hours, which should take you about a year. Dispel the myth that location is everything. Location is overrated. It’s about how you see, not where you are. Learn to see differently, and well. The stuff of good photographs – all that is out there! You just have to go find it, and you don’t need an expensive camera to do so. And I guess most of all, be confident in yourself and believe that you have something to say with your photos. Too many people have very little to really say about the world around them. Having so many tools to communicate now – that almost seems absurd, no?
Find Matthew Wylie: Instagram // Flickr // EyeEm // VSCO Grid
by Rebecca Cornwell | Jun 13, 2014 | Rebecca Cornwell, Stories
To understand where Chloe is now you need to learn where Chloe began her journey and where it is headed. The Reinvention of Chloe is a collaborative effort by much of the Gryyo team to realize a dream our dear friend Ale began before his death. We do hope you enjoy the journey.
Closing her eyes to the day, there is the light that lives.
It dances.
It sings.
Chloe knows tomorrow may be different.
For this moment of joy, there is gratitude.
by Grryo HQ | Jun 12, 2014 | 1000 Words, Stories
Welcome to 1000 Words Showcase for Windows Phone via the Windows Phone Experience Flickr group.
This group has many great artists and photographers and along with many mobile photography communities is rich in story.
We Are Juxt has asked a these great photographers to help curate this showcase and are very happy that they agreed. Please put your hands together for Aman, Sony, and Jean Brice. Their bios and contacts are below.
We hope to showcase the great diversity and beauty of the work shown to continue to inspire other mobile (connected) photographers/ artists within our community. 1000 Words is titled under the premise that “a photograph says a 1000 words.” We Are Juxt believes that mobile photographers/ artists tell stories through the photographs/ images and art that represents their families, their environment, themselves. This is important because of the level of communication that is portrayed in imaging today. We look forward to you and your art. We thank you for your contribution to the mobile photography/ arts community.
If you are a Windows Phone photographer please feel free to contribute to the Flickr group.
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The Violinist by Nikky Stephen
Nokia Lumia 920
I ride the bus to work every morning and get down at the University Street Tunnel Station. One of these mornings, I happen to stumble upon this violinist lost in his world of music. Obviously he was playing for money, but for some reason, he chose to face away from the people. I noticed the fantastic symmetry that the tiles, the wall and the ceiling made and seized the opportunity to quickly whip out my phone and capture this photograph. It is one of my most favorite street photographs.
This was shot using a Lumia 920 and processed using the Snapseed app on my iPad.
Flickr // Instagram // Website
Repose by Ryan Vaarsi
Nokia Lumia 1020
When I need peace, I go to the ocean. I can make better sense of myself there. The waves create a kind of white noise that erases much of the dreck that tends to clutter my mind. The sand, the birds, the scent of saline air all help to remind me how much I love where I live. I can get centered. Get a grip. My preference is for Zuma Beach, up in Malibu where the tourists don’t often venture. But the PCH can make that trip an exercise in frustration, so this particular day found me in Santa Monica, atop the cliffs peering out at the Pacific.
The thing that I love most about this photo is the unseen bits and what they say about this place I’ve come to call home. Maybe 30 feet behind me was Ocean Ave., which is a sort of Möbius strip of perpetual traffic. It’s lined with hotels, condos, restaurants, and nightclubs and there is all of the attendant anarchy and assorted nonsense that generally attend such places. Valets scramble, cabbies beep at seemingly nothing whatsoever, the traffic lights talk to you and a half-dozen languages can be detected at any given moment. It is the standard brand of mayhem that one generally encounters at any tourist locus.
But there is also this. This moment of peace. Something I’d call Zen if that didn’t seem so easy a word to throw at it. A woman, a tree and the ocean beyond. LA is full of these places, these moments. Runyon Canyon, Griffith Park, the hills above Silver Lake Reservoir. Weird and glorious snatches of space-time in which I can find remarkable clarity and peace hidden in this screaming, entropic mass of 4 million other human beings.
I shot this photo with a Nokia Lumia 1020, using the Nokia Camera app set to auto. I exported it to my iPhone 4S (at the expense of some resolution) so that I could process it in Snapseed.
Flickr // TwitterTumblr // Website // Grryo
(Dis)connected by Gagan Sadana
Nokia Lumia 1020
We live in a strange world. I was waiting at the station, and saw these three people, busy with their devices. It seems that we are not even bothered to look around, say hello and start a conversation with the person sitting next to us.
In a way, I think some of us are also (Dis)connected!
I post processed this image using the Nokia Creative Studio.
Flickr // Tumblr // Twitter
Matheran by Chani Mehro
Nokia Lumia 1020
Matheran is a small hill station near Mumbai, where we had gone for just a day. The day was very hot, so we tried to make the most of the short evening before returning home. This photo is from one of the numerous sunset points there (I forget the name). I was lucky to get a few decent shots of the sunset – well, if one has the 1020 it’s not entirely luck 🙂 I don’t have very good eyesight, didn’t realize I had captured the tree as well (bottom right in the original), but in a way it’s good that I did, because cropping it out of the picture while keeping the sun centered has made for a prettier panoramic memory.
Twitter // Flickr
Foggy Morning by Endijs Gutmanis
Nokia Lumia 1520
Photo was taken in Latvia, it was early in the morning and I was working when I saw a beautiful sight through my living room window. I used DNG format on my 1520, so it needed a bit of post processing which I did with Adobe Photoshop Lightroom 5.3. I increased exposure reductions contrast, highlights and clarity to make this photo more smoother and of course I reduced luminance noise. Shutter speed was 2.7 seconds, maybe a better choice would be to use Nokia 808, but I wanted to give Nokia’s only phablet a chance to prove what it can do!
Instagram // Flickr // Twitter // Blog // 500px
Serene Evening by Antti Tassberg
Nokia Lumia 1020
The image was captured by a lake I often visit. The evening was very calm. Too calm. I had taken a few shots but I wasn’t happy with the results. The foreground was empty. It needed something; a bird, a fish, a bobber, … None of those around so a stone did the trick. Captured in RAW and edited in Lightroom. Only moderately edited (clarity, vibrance, saturation).
Post processing tools: Lightroom
Flickr // 500px // Twitter // Ipernity
On The Field by Loveskyvn
Nokia Lumia 520
Countryside and fields where I live, it’s peace, I want to use my 520 Lumia and record them. I used Photomatix for processing the images, pairing 5 photographs in the difference .
Facebook
Travelling at the Speed of Light by David HKM
This photo is a part of my photo album which is called “Saigon Skyline”. I have started my own project for a month. Because of that, I had to access to many building’s rooftop to get the whole view of the city .
The Lumia 1020 allows to take 3 to 5 brackets, from -3ev to +3 ev … so I used this function to post process , keeping its natural look close as to human eyes saw.
Twitter // Flickr
Underground Kingdom by Corvida Raven
Nokia Lumia 1020
Sometimes you have to get lost to find what you’re looking for…
While taking MARTA (Atlanta’s public transit system) to a meeting, I got off at the wrong stop: Peachtree Center Station. What is usually a highly annoying situation became an inspirational moment. Peachtree Center Station is as cavernous as an underground cave. A space you’d expect the city of Atlanta to hide its residents in during some apocalyptic war or zombie/alien invasion. The moment I took this image, it became a work of art.
Processing
I used Nokia’s Creative Studio to convert the image to mono/black and white. I transferred the image from my Nokia Lumia 1020 to my Motorola X and applied the b3 preset from VSCO cam along with minor adjustments to the contrast and brightness.
Instagram // Flickr // VSCO Grid // Twitter // Google+
Dew drops on the leave by Trong
Facebook
Untitled by Saiful
The photo (the person standing=me ) was taken on the Surfer Paradise, Gold Gold Australia and the second picture ( the trees) was taken when I was playing paintball in the jungle.
Facebook // Instagram
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Curators
Aman G., Germany
Twitter // Flickr // Tumblr // 500px // Mobile Photography Blog
Born in Ethiopia, escaped from a civil war as a child in the end ‘70. Grew up in Germany… loved the Nokia N95 8GB with its fantastic Image quality back then, but my real mobile photography obsession began late december 2012, when i bought the Lumia 920. I shoot to freeze the moment, …addicted in details. There’s no real concept behind my photos… i see the moment and love the fact to have my weapon in my pocket to catch that moment…. Any where… any time.
Sony Arouje, India
Flickr // Tumblr site of my Lumia 920 photos // Instagram // Twitter // Facebook
By profession I am a Software Architect working in Banglore, India. I am very passionate about photography. I started clicking from 2007 when I bought my Nikon DSLR camera. I never explored mobile photography until I bought the Nokia Lumia 920, it got an awesome camera. I realize the power of mobile photography and I kept my DSLR aside and started shooting in my Lumia 920. I love street photography and majority of my photos are from the streets of Bangalore.
