The beauty of photography is that it brings everyone one step closer to each other. Not only does it have the ability to open our minds and our vision but it also makes it possible for us to see the world at any given moment.
Since joining the world of photo and social sharing, I have been “meeting” people from all around the world, that live in places that I categorize as, “have been to”, “not yet discovered” or “wish to discover”.
When I first joined Instagram, I searched for cities that I had recently traveled to and started following some local photographers in the area. It was my way of revisiting those cities without having to actually fly. But then it got me thinking that I’m certainly not alone on this quest. There are billions of people that love to travel and there are those who have never left their hometown.
Every month, a different city from around the world will be showcased by photographers who are not only exceptional artists but also community leaders, from all walks of life. My aim is to feature photographers who I feel share a true representation of their city, from a local’s point of view.
I hope you enjoy our first stop to Chicago aka the “Windy City”.
So please… relax, sit back and enjoy the ride…
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Please take a moment to learn more about Chicago and the photographers featured. Fayth = F, Ivan = I, Jason = J, Ruth = R, Ryan = Ry
Where are you originally from? How long have you lived in Chicago and what do you do for a living?
F: My early childhood was in Chicago, but I grew up in Los Angeles, CA. I’ve lived in Chicago since 1995. I am Principal Director of Operations at a technology consulting firm.
I: I’m Puerto Rican, born and raised in Chicago’s Mexican community, La Villita/Little Village. I’m an actor and co-founding executive director of UrbanTheater Company (UTC), a non-for-profit based in Humboldt Park. I also work for Food For Thought catering as well as other jobs here and there for supplemental income.
J: I am from Phoenix, Arizona. I lived in downtown NYC for 20 years and relocated to the Wicker Park neighborhood of Chicago 2 years ago. I am the chief creative officer of Havas – a 400 person full service advertising and marketing company.
R: I’m a lifelong Chicagoan. I’ve tried to escape from the harsh winters many times but Chicago is home. I’m a film editor who has the good fortune to work on many types of projects, including commercials and independent films. Most of my career has been spent editing commercials shot the classic way, on 35mm film.
Ry: I am originally from Seattle, WA but moved to Chicago when I was 13. I have now lived in Chicago for 17 years. I am a film editor/producer and now specialize in the healthcare field.
How does your profession influence your photography? Are there any other interests which attribute to your love of photography?
F: In general my profession has no relation to my photography. I have had a love of photography since childhood. Music, modern art, architecture, journalism, photojournalism, and social psychology are all interests of mine, and I’d say they all directly or indirectly influence my photography.
Old Style Jazz by Fayth
I: My first love is theater/acting, but it ties in perfectly with my love for photography. It’s a perfect platform to express my creativity, plus, they both carry the commonality of storytelling. I’m fascinated with peoples journey. Everyone is on a path to get somewhere and I’m very intrigued with how they’re getting where they are going.
J: Advertising is all about social media. I tell all my clients and employees that if you can’t succeed at social media platforms for yourself then how do you expect to do it for brands. I use shooting photos on IG as white noise therapy for my crazy hectic day. I usually disappear at lunch time to shoot shots. My assistant recently told me an intern asked why she saw me kneeling down in a Chicago alley with my iPhone.
R: My profession makes me appreciate the extreme attention to detail in much of the cinematography that I’m exposed to. But there are large teams of highly creative professionals who bring those images to the screen. My photography, in contrast, is very random, unplanned, lit only by the sun or other available light and really does rely on what I happen to ‘come across along the way.’ For me, the lack of ‘production’ and the focus on a quiet and still image, rather than a moving one with sound and music, makes photography really feel like a peaceful hobby and not ‘work.’
I love process and detail, architecture and travel, the human figure, light and geometric shapes, and also technology, and all of this comes together in my photography.
Ry: Photography is something I did professionally for a number of years early in my career. Corporate work became stale and uncreative and I ended up focusing my work in film editing instead. My current work in producing and editing moving images is extremely related to composing a photograph and I try to take the same approach in both avenues: let the image speak for itself as much as possible. My main focus is to edit as minimally as I can.
With the changes to Instagram and the emergence/popularity of other apps, do you feel as if your interest to connect with the mobile community has remained the same or changed? Are you as active on these sites as you were when you first started sharing photos?
F: Instagram was a much smaller global community when I started using it in 2010 – about 1 million. It was much easier to connect with people who were genuinely interested in mobile creatively through Instagram. Along with the changes to Instagram itself, came millions of users who use the app in less creative or thoughtful ways. That, coupled with the uncertainty of Facebook’s impact drove me to at least try other apps as a backup. I definitely became more interested in connecting with the mobile community outside of Instagram, but I’m not as active on other sites or apps as I am or back when I first started using Instagram.
I: My interest is still the same as when I first started experimenting with mobile photography on Instagram about a one year in a half ago. Change is good and you have to adapt, but it definitely does not stop me from continuing to stretch myself outside my comfort zones. It’s all about learning and growing in everything I do. Instagram is my main photo sharing app, but there are other apps that I use such as EyeEm and Tadaa to name a couple.
J: For IG it’s the same just a bigger scale. It always had the same pros and cons they just get louder as it grows. I like EyeEm, it’s the best next to IG. I tried them all, Tadaa is cool. Starmatic has a cool thing going. The rest are whatever.
North Avenue Beach by Jason
R: Over time, I find that my interest in mobile photography and the various apps that I use for photo sharing keeps evolving. What I ‘see’ or wish to ‘see’ keeps changing and over time my desire to share keeps changing too. For me, it is critical that posting on IG and EyeEm and other apps remains feeling fresh and unconstrained so that it never feels like ‘work.’ I post less often than I did when I first started. I think it’s for various reasons, including time constraints and that I find it harder and harder to find a shot that feels original.
I still love to connect with the mobile community. I am inspired by the creativity of others in some way every day. IG has gotten so big, with so many users, that I often find myself unable to keep up and to enjoy the beautiful work of so many others. That’s what I love about EyeEm, for example, it’s a much smaller community, more intimate and for me the focus is really more on the photography itself and less on the social aspects.
Ry: Instagram is a constantly evolving community and it certainly is very different from what it was over 2 years ago. Change is good. Competitive apps are good. It keeps us challenging ourselves in and we should never be complacent. With that said, I find it difficult to manage more than one app. My involvement has grown over the years and I find the most satisfaction from going to meet ups and meeting complete strangers to find inspiration.
Have you had any professional training in photography? What devices/cameras do you use most?
F: I had taken general photography classes long ago, and was trained on an old Hasselblad medium format film camera by a friend who is a photographer. I have a few friends who are professional photographers in media and entertainment, so in some ways I feel as though I’m constantly being trained each time I need help – particularly for dark-lit or night photography. Which is great! Primarily I use a Samsung Galaxy Note 2 (I prefer a big screen), shooting with the Fotor app. I also use a Nikon DSLR, but less and less frequently for Instagram posts. Most of my editing is on an iPad or on the Samsung Galaxy Note 2.
I: I have not had any formal training in photography. What I know today, I’ve learned on my own, while being inspired by others and their work. While in college at Roosevelt University, I bought my first camera. It was a Nikon D60 film camera. Since then, I’ve never stopped taking photos. It came naturally to me. I’ve always enjoyed capturing moments and being able to instantaneously document how I see the world around me. After going through many digital point and shoot cameras, I purchased a Nikon D80 from a good friend and a very talented photographer, Anthony Aicardi. I’m currently looking to upgrade my equipment and take things to another level. In the meantime, the device I use most often is my convenient and unobtrusive iPhone4S.
J: iPhone only. I did get a tripod for Xmas but don’t usually lug it around. I took photography through college. I have shot every format in the past and have a closet full of expensive equipment I haven’t touched in 3 years.
R: I have not had any professional training in still photography, per se, but I did go to a very theoretical film school where we shot 16mm film. Plus, I’ve been working with gorgeous imagery for my entire career. I take all my pictures with my iPhone 4s or with my Nikon DSLR.
Ry: I had quite a few photography classes in high school and college, and I even taught a couple in college, but nothing compares to just grabbing a camera and challenging yourself. I am certain that my photo-a-day project I did a few years back taught me more about photography than any class I’ve taken. I use a Canon 7D for my non-iPhone work.
#theresultofmissingthetrain by Ryan
Fayth is a manIger for the @IgersChicago team. Have you joined any of their (or other group’s) photowalks/events? Am curious… have you all met each other in person?
F: Luke (@agentluke) was the very first person to reach out to me when I first launched IGers Chicago! We became friends before the first instameet, and we have been friends ever since. In terms of everyone else who is being featured on We Are Juxt from Chicago, everyone has attended instameets except Ruth, and we know each other through Instagram.
I: I have been on several photo-walks with Fayth and others from @IgersChicago. It’s been great to meet and connect with a diverse group of mobile photographers through this “little” photo sharing app called Instagram.
J: I have gone to a few. I like all those people they are a diverse group all centered around love of photography. I met @ryanpostel and @kevinkuster through Chicago IG and consider them friends.
R: I have not participated in any of the IgersChicago events..yet. I really look forward to meeting some of Chicago’s incredible talent. My free time is limited and I love the quiet of taking pictures alone. Interestingly enough, I have met Ryan Postel. We met through IG when we were both relatively new and I hired him to help me edit a feature-length documentary that I was working on at the time. It was a great pleasure and my luck to have met Ryan through IG.
Ry: I have attended nearly every Chicago meet up over the last year and a half. I really love them. I have met everyone in this feature and call these people my friends. Chicago has such a solid group of talented IGers and we are very open and collaborative.
What tip would you give anyone traveling to Chicago for the first time? Is there a place that you consider a “hidden gem”?
F: The tip I’d give someone on their first visit to Chicago would be: Bring walking shoes because Chicago is best experienced by walking from neighborhood to neighborhood, or hopping on public transit and seeing as much as possible. Despite all the news hype about crime in Chicago, there are really only a handful of pockets of the city where the majority of crime occurs, and one would have to go out of their way to find it.
There are a ton of hidden gems in the is city depending on one’s interests. For staying on the beaten path, the Alfred Caldwell Lilly Pool is definitely a gem. It’s adjacent to the Lincoln Park Zoo, but few people, including Chicagoans, know it’s there. Built in the 1930’s, it is touted as a premier example of Prairie style landscape design which functions as a bird sanctuary with winding paths surrounding a lily pond with a wooden shelter designed in the architectural Prairie style on one side of the pond.
Off the beaten path, the Pilsen neighborhood is Chicago’s hidden gem because it was one of the only neighborhoods that withstood the Great Chicago Fire of 1871. Now home for many artists, this neighborhood is not glitzy or even very well maintained, but for an Instagramer with an eye for historic architecture, this it’s definitely a hidden gem.
I: Exploring downtown is a must, but if you want to take advantage of the diversity, history, food and rich culture Chicago has to offer, do yourself a favor and visit: Humboldt Park, Logan Square, Pilsen and Hyde Park. I really like the West Loop in the Near West Side of Chicago. It’s very industrial area with a wonderful and gritty playground.
J:Lower Wacker is the best. Also wake up early before everyone is up. Also don’t be showy with your iPhone, Chicago is a tough town.
R: Chicago is a city of hidden gems. The beauty is everywhere. I would tell any travelers to not miss the obvious beauties: downtown’s skyscrapers, the Lakefront, Millennium Park, The Art Institute but to also take the time to explore Chicago’s ethnically and culturally diverse neighborhoods and to eat their way across the city. Some of the greatest food in the world is right here.
Ry:I would say go up and down the Lakefront as far as you can. Most people take for granted the beautiful parks and views from Evanston all the way down to Hyde Park.
Name one thing you love and dislike about Chicago?
F: The one thing I love about Chicago is that is an amazing “walking city”. Walking throughout this lively city of architecture, a variety of neighborhoods, the lakefront, and urban life is fantastic.
The one thing I hate is that the best weekend escapes from Chicago involve a flight. I guess I was spoiled as a Californian since there are a number of good weekend escapes within driving distance up and down the coast or to the mountains. In Chicago, in order to get into better weather or a place with as much creative diversity and nightlife, you pretty much need to fly out.
I: It is hard to pick just one. I love Chicago’s food, architecture, history and the many different neighborhood’s that exist throughout the city. I dislike Chicago’s pay box’s hands down, which you will find everywhere.
J: I love the modest Midwestern work ethic. I hate winter.
R: I love Chicago. It’s a city of great contradictions and Chicagoans are no exception. Tough and real and proud, both honest and corrupt, but with a real soft spot for beauty. I dislike the weather. It is Chicago’s greatest contradiction.
Ry: I love how alive Chicago becomes with street and music fests in the summer. I hate the negative 20 degree winter days.
If you could pack your bags and escape for a week or two, where would you go? And why?
F: I would go to Vancouver, British Columbia because it is everything packed into one diverse yet small, city. What I mean is, there’s urban living, rainforests, beaches, and mountains all in one beautiful place. Everything is easily accessible and there are people there from around the globe. It’s naturally beautiful, yet has a vibrant urban atmosphere.
I: I would go to Paris with my wife, then make our way to Florence, Italy; Barcelona, Spain and then end our stay in Santorini, Greece. These are places that encompass rich culture, tradition, history and food. As you can tell, these are common themes that I’m drawn to.
J: Palm Springs. I love the desert.
R: I’m ready for a long trip to Asia. Japan or China or Thailand or India. I’ve never been east of Turkey and Israel.
Ry: Thailand. Not really sure why, but that’s where I would go in a heart beat.
Have you been involved with any collaborations or projects? Is there anything you’re working on at the moment (related to photography or not) that you’d like to share with us?
F: As far as IGers Chicago goes, we have collaborated with a few our members and other Chicago groups for instameets. For instance, one of our members who is an architect with a world renowned architecture firm, guided us on a Chicago Loop architecture tour. Currently, by April 1st we begin collaboration with a company called InstaThis for a big challenge, which will potentially lead to a bigger planned project involving a City of Chicago arts organization.
Personally, I am collaborating with Javier of IGers Boston and Bridgette of IGers Seattle to launch IGers USA, which will not only be an Instagram feed, but a webiite hub for existing IGers communities as well as users who don’t currently have a local community in their area. We’ll have a wealth of blogs, tips, events, and more as we move on beyond our launch.
I’m also collaborating with some music industry friends to move forward with the Chicago SoundCloud meetup community, which is designed for musicians, DJ’s, and lovers of music. I launched myself into this in 2011 with the help of some radio and music industry professionals, but that project was stalled by me due to my involvement with Instagram! We have some big plans for this summer.
Lastly, over at Tribune Media’s, ChicagoNow, I’ll be re-launching my old blog-site to focus primarily on the Instagram community. There I’ll be focusing on Chicago sights and sounds by utilizing the help of Instagramers as well as SoundClouders, app reviews, and other Instagram and Chicago topics. ChicagoNow-Relaxocat
I: I’m blessed to have a wide variety of things I’m working on right now. Photography wise, I was chosen to appear in Shooter, The First Photomobile Magazine. My work will appear in the third issue. On the acting/theater end, here is what I have going on:
UrbanTheater Company has a reading series that recently kicked off called R.A.W. (Real. Aggressive. Writing.). We’re presenting work from playwrights of color, while maintaining a Community Conexión and making quality theater easily accessible to the Humboldt Park community. – http://urbantheaterchicago.org/2013/02/r-a-w-real-agressive-writing/
Lastly, I’m a finalist for Ketel One Vodka’s Modern Hispanic Gentlemen for my work with UrbanTheater company and community. It’s a People’s Choice Award and voting goes until April 15th. If I win, a donation goes to my charity of choice, which is La Casa Norte. Their mission is to help families confronting homelessness. So please vote to help me win! – http://www.modernhispanicgentlemen.com/
City View by Ivan
J: I run @thepublicimage #publicimage with @ryanpostel we high light out favorite IG shots. I curate the public lobby at 35 E. Grand and have a few events planned including an IG event that will bring the biggest and best of IG shooters to Chicago.
R: I’ve never done a photography collaboration until recently where I edited a beautiful abstract shot by @dpicts (IG). He’s 14 and I felt honored that he asked me.
Ry: I regularly do collaborations and always welcome it. Nothing else I’m working on at the moment that I can legally share.
Give us an inside look as to what a “typical” weekend is like for you. Are you a planner or a last minute type person?
F: I’m both a planner and a last-minute type. Whenever I have a plan, someone will inevitably tell me about something else that’s interesting. My typical weekends involve some time set aside on Saturday afternoons for impromptu photo-walks. I spend a lot of time with friends. The evenings are filled with either music, art, or my other favorite pastime, dining! Sundays for the last several years are centered around brunch with friends – a tradition I’ve been organizing since 2007. Sunday nights are generally about planning for the upcoming week of social media tasks or catching up with friends who don’t live in Chicago.
I: My schedule is all over the place, so typical doesn’t exist as often.
On the weekends, I’m either rehearsing or working an event. But, despite my schedule, I always try to spend some quality with my wife. I’m a mix between being a planner and a last minute person, but definitely lean more towards the second one.
J: Have two kids so I work around what ever they have going on. Lots of pick ups and driving. I wake up every morning and walk to one of my favorite coffee shops. Take the dog to Montrose Beach.
R: I really have no typical weekend. It really depends on what my kids have planned, what my work schedule is like, what the weather holds and whether I’m in town or not. I really don’t like my weekends to be overly scheduled.
Ry: I’m a very last minute person. Theres no typical weekend for me. It all depends on what my friends and family are doing. If I have any free time I try to find a part of the city to go shooting in.
Feel free to answer a, b and/or c:
a) Who’s on your music playlist these days?
F: Portugal The Man, Trombone Shorty, Massive Attack, RJD2, Savages, A Place To Bury Strangers, Social Studies, Atoms For Peace
J: My bloody valentines new lp, ASAP rocky, and maybe Gorilla Biscuits (to keep it real)
Ry: Ben Howard, Kendrick Lamar, Of Monsters and Men.
b) Which blog/site do you check regularly?
I: I really like TED.com and listening to peoples big ideas. The Big Picture on Boston.com is another site that I frequent.
c) Which movie, released in 2012, would you say is a “must see”?
J: Argo (and my step brother is in it)
R: Beasts of the Southern Wild. It’s a gorgeous, gritty 16mm film with an outstanding performance by a child and a story of magical realism set in the American bayou.
Ry: Life of Pi
And finally, is there an area of photography that you would like to further explore? One that would push you out of your comfort zone?
F: I’m in the process of exploring film photography, specifically through a medium format Lomo camera. Many photographic styles found with mobile photography seems to mimic the look of Lomography. Through mobile photography we’re able to manipulate and edit our photos to look like they were taken from old analogue cameras. Lomo’s analogue cameras tend to give that appearance, but on film. .
I: I’ve been playing with idea of diving into the headshot market. This is an area that I’m familiar with as an actor, but haven’t tapped into. I would like to begin experimenting soon once I upgrade my equipment.
J: I don’t really have a comfort zone, I don’t really know what that is. I want to have a viable style without repeating myself.
R: I would really love to master black and white photography. I find it quite challenging to see in shades of gray. Also, comfortably taking shots of strangers and street photography is something that I find out of my comfort zone and I constantly push myself to take shots that feel like a challenge to me.
Ry: I have always wanted to take a crack at sports photography and a couple years ago a friend of mine got me down on the field to shoot a Major League Soccer game. That was pretty wild. I would love to do something like that again. It’s fast paced and such an adrenaline rush!
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Fayth aka Relaxocat – A Chicagoan for over 15 years, I’m originally from Los Angeles. Photography and photo journalism have been my interests since childhood, with first camera at age 8. In 2010, after a few years of online media blogging at NBC Online and Tribune Medai’s Chicago Now, I took a break and joined Instagram for the fun of it. I also became an organizer of the Chicago SoundCloud group. Instagram and mobile photography became primary interests, which led me to launch Insstagramers Chicago. I’m now part of the founding team of Instagramers USA. I’m still on break from blogging, but not for long.
Ivan Vega was born and raised in Chicago. He is a husband, an actor, producer and Executive Director of UrbanTheater Company (UTC), which he co-founded in 2005. He’s also a self-taught photographer and a foodie (with hidden desire to be a chef). *My Personal Motto: *Be bold. Be fearless. Take risks. Make a difference. Love. Contribute. Create miracles. And above all, smile while doing so.
Jason Peterson lives in Chicago, IL with his wife and 2 kids.
Jason is the chief creative officer for Havas, a global advertising and marketing company. He creates national campaigns for major American brands. Prior Jason ran Translation, a youth marketing agency in NYC, founded by JayZ.
Ryan Postel
My name is Ryan and I live in Chicago, IL. I produce and edit content for a healthcare TV network and I have a puggle named Robocop.
Instagram & EyeEm: @ryanpostel
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I would like to thank Fayth, Ivan, Jason, Ruth and Ryan for contributing and for taking the time to show us what Chicago means to them. And, a special shout out goes to Fayth for making the music portion of this video happen – it’s a perfect accompaniment!
Next up is Johannesburg – the largest city in South Africa. So stay tuned.
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* If you’d like your city featured, please leave a comment below or feel free to contact me via twitter, Instagram or EyeEm.
I am a visually impaired “photogrartist” and a father of an awesome 11 year old son. I was born and raised in the Central District of Seattle, Wa. I come from a single parent household; where my hardworking mother raised my older brother (who is 9 years my senior) and myself. Growing up as a kid in the 1980’s & 90’s I was heavily influence by the hip hop culture as well as what i seen and started to emulate as a youth in my neighborhood. I developed a passion for art, creativity and self expression at an early age. So I began to express that by tagging on walls, then through fashion and now through a camera lens!
Music, culture and lifestyle is my influence. I listen to alot of music, take alot of walks and just indulge in the rawness of life and that is what fuels my creativity. In some pictures u may see bandanas and guns or they may be shot pretty dark and eerie- those were some of the elements of my environment and I use those elements in some of my photos to provide a feeling to the viewer. They are natural to me. I recognize beauty in the things that society doesn’t consider beautiful. Im fueled by rawness and imperfection.
I began making photographs in 2004 when I got a Nikon DSLR on a come up. I began to take photography seriously around 2007 and enrolled in a basic photography course. It was in that class that i noticed that I was not able to see out of my left eye anymore. Days later after seeing a specialist, I was diagnosed with optic nerve damage and later lost complete vision out of that eye. There were no answers or treatment as well. I continued to make photographs for a short period of time thereafter, but I felt so discouraged that I put my camera on the shelf to collect dust for almost 4 years. In the summer of 2011, I was diagnosed with Auto Immune Retinopathy and Optic Neuropathy Syndrome, an antibody malfunction that is so rare that the treatments are deemed experimental and may not be effective. This photo story that was shot by me, shows photo by photo detail of my most recent chemotherapy infusion through IV. I decided to shoot and share this story as a way to cope with my struggle and also uplift other individuals out there with medical ailments.
I started taking mobile photography serious around January of 2013, when I enrolled on the iphone photograph class at Seattle Central Community College. I shot with my iPhone but I wasn’t serious about making photographs with it until then! My iPhone is always with me and Dslr is always home, so I figured that I might as well make use of it!
“Out Of Fokus”
“Sharing Needles”
“The Hands That Life Dealt”
“Benadryl, The Appetizer”
“The Injection- Now Im Tipsy”
“Chemotherapy, The Entree”
“Guinea Piggin”
“Done Deal, Itz A Wrap”
“A Day In The Life. Peace, Im Outta Here”
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Melvin’s 1st mobile shot entitled, “Doin’ 90 Under The Bridge” (Shot w/ an Android)
Sitting here I ponder the relatively new medium of photography, the mobile phone camera. I think of the reactions people have had to the Mobile Photo Awards that continuously shock the world with images that were to many, too good to have been created with smart phone cameras. My thoughts are left considering the impact of the TIME magazine editor’s decisions, and the five photojournalists changing the world by proving how important, how relevant these new forms of cameras are to the world, to storytellers, to us, to everyone, as they reported the effects of Super Storm Sandy in real-time. I think about the skeptics and why they still exist. Why is this tool, this new photographic medium, still scrutinized? Why is it still discredited?
I remember there was a time when the newness of carrying a camera in our pocket, apps that did wonderful things to help expand our creativity, an introduction of a brave new world of photo communities, was exhilarating. New titles and terms for what we were doing were created to help distinguish us further, “iPhoneography,” “mobilephoneography” “streetphoneography” and plethora of other derivatives emphasizing the uniqueness of the mobile movement. These terms meant something to us then. It even meant something to me. We needed them. We had to emphasize that this was photography created with an iPhone. I’m sure many of you, as was I, were faced with the naysayer traditionalists who warned you to put the toy down and shoot with a real camera. And, similarly, we all responded, a feeling in our guts, “no, there’s something to this, something special.” We kept shooting with the our pocket cameras. We felt different, we felt we were helping pave the way each time we proudly said I’m an “iPhoneographer,” or such.
I know many of you love the term iPhoneography, and hold it dearly close, along with all the many other derivatives that have popped up over the last few years to define the mobile movement. But what purpose do these terms serve now as mobile phone photography matures from the angsty teen trying to be different, bucking the system, into an experienced, respected adult? Are they doing more harm than good? Do we really even need them anymore? I say, “no.”
As I type this I consider the relevancy of these terms to our beloved medium. I think back to Cartier Bresson when he bought his first Leica in the late 1920’s. This new medium, the 35mm camera was small, different. It would soon prove to allow photographers to go places and see things never before imagined. Sounding familiar yet? It should. This is exactly what’s been said about smart phone cameras. Anyways, Bresson found no need to label this new medium “leicaography” “decisivemomentography” or even “bressonography.” It was simply just photography. It didn’t need a new term because what mattered was the subject, the moments that were being recorded on the film. The importance of this new medium was defined and quickly led the way to what we would soon come to know as the Golden Age of Photojournalism.
The gimmick that grew up
We’ve seen the proof that smart phones and the mobile photography movement had progressed beyond a fad or a gimmick. We have seen the proof hanging on gallery walls, on the covers of prominent weekly publications, acceptance in the news media, and used by major brands. There are still many skeptics, and naysayers who condemn the mobile movement to a fad that will pass. To a point I agree with their argument when I still see the term “iPhoneography” being used in serious photo circles. There is an honor and respect that must be given to Apple for giving us the iPhone. But in the end, it is only a camera with a phone attached. It did not change the way we think about photography. Apps did that.
Many of you, like myself, have spent a lot of time promoting the mobile phone movement as a serious professional form of photography. This is an interesting time. We are still struggling to elevate the medium to a higher ground, as it balances on the edge of adolescence and adulthood. Outside of the realm of apps, and filters and, “oh boy, everyone’s doing it, how do I stand out now,” we must ask, “what importance do these terms really hold for us now?” What good are they doing? Are we held back by the very idea that we need a term to stroke our own egos and reaffirm our own self-importance in an over-saturated world where everyone claims to be a photographer? Why can’t we just call ourselves photographers? As the mobile phone photo medium matures in the world, the use of kitschy terms such as these only reinforce the critics thorny opinions that mobile phone photography will never amount to anything, and will always be a gimmick.
Ironically, maybe now is the time that we lovingly lay the terms to rest, remove the mask that we’ve been wearing to gain attention, and leave it pressed in the pages of history. Lets look in the mirror to see ourselves for what we really are, storytellers. Photographers. We don’t have to let go of what iPhoneography meant, nor should we forget. But we should realize what we truly are, and what we continue to be. Let the world know that we are no longer that teen with something to prove. We’ve made our point and this new and exciting medium of photography isn’t going anywhere. It’s a force to be reckoned with, and will continue to develop with age. The longer we hold onto these gimmicky terms the longer we will postpone our place at the photographic table, with a voice. We’ll remain the pestering child who’s parent’s tell them to be quiet while the adults are speaking.
Welcome to our first critique and community forum!
We are very excited to be launching this kind of community here at Juxt. We hope this will promote growth, introduce the community to new language, and open the door for a honest conversation about photography. Once you finish reading the critiques please leave a comment with your thoughts on the series. We want you to join in the conversation!
We started with the architecture genre with a beautiful series from Paula Gardener.
We have four panelists crituqing Paula’s series. Paul Marsh, Su-Lin Meyer, Tilman Haerdle, and Fernando Prats.
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Paul Marsh Seattle, WA Description:
These four monochrome images from the Sol Y Mar hotel in Egypt all show different perspectives of the same work of architecture, presented thematically but with very different compositions. They appear to be taken on the same cloudless, bright day where gradient shadows add to the compositional elements. Although there are no titles to the images, clearly they’re presented as a group. A hint of warmth in the monochrome toning seems to deliberately add to and unify the compositions.
Analysis:
The photographer used very strong and dynamically angled lines to convey a crispness and sharpness to each image. A wide depth-of-field with everything in focus enhances this crispness, and the choice of high-contrast monochrome helps to dramatize the shapes. The warm-toned monochrome suggests a sense of the dryness of a desert environment. In the last image, the repeating pattern of angled lines and bars adds some interesting depth to that image, and in the second image, the diagonal line in the middle of the frame unifies the implied curve created by the larger dotted dark patterns from the windows and lounges. The positioning of the blank sky in each frame mostly helps punctuate the graphic, angular shapes in the architecture. Each composition fits the orientation chosen for the image. Minimalism is clearly a theme in all of the images, and the photographer was drawn to the different geometric patterns and shapes found throughout the hotel.
Interpretation
By reducing the building into more geometric, high-contrast patterns, the photographer presents a sense of strength and abstracts the sense of place. The more warm-toned monochrome helps provide context. In some ways, except for the last image, the 3D world of this hotel is flattened into a 2D space, where gradient shadows help to provide the texture and depth. The simplicity of the compositions presents a meditative silence, especially with the lack of people and motion in the images. The compositions, especially with the choice of monochrome, are reminiscent of some of the Architectural Geometric Abstract works of Paul Strand and Ansel Adams’ 1929 photograph “The Church of St. Francis of Assisi. Taos, New Mexico.”
The high-contrast strong figures in the first and third images are very clear and interesting. In the third image, I’m sensing a conversation between the two figures. Perhaps an admonishment, with the figure on the right being a parent and the shadow covering the left figure representing the flush of sadness, embarrassment and shame felt when being scolded.
Judgment
I’m particularly drawn to the first and third images for the reasons mentioned above. As a group, while the images fit together thematically, I think the specific geometric reduction used in these two images could be further explored and brought together in a wonderful portfolio or photo essay. The second and fourth images could be strengthened, perhaps, by a little tighter cropping.
In the second image, I can see some of the natural and hard-to-correct lens distortion of the iPhone’s camera lens that detracts from the strong lines presented in the image. Since this distortion can be difficult to correct, I would suggest removing the sky and turning the image into a square composition (or crop it a little tighter so that it’s square-like but not exactly square):
This crop helps focus the simplicity of the image, provides much more balance and emphasizes the dynamic of the image. The diagonal line that intersects the middle of the scene is much more strongly presented and gives the little smaller shapes a sense of motion. The viewer is initially drawn downward into the image from top-left to bottom-right (around the implied curve/angle/L-shape) and then brought back around to the top again by the triangle shape in the lower-left corner that brings our eye back up into the top-right of the image – all in a bit of a top-heavy, angular figure-8 pattern:
The last image, too, would benefit from a square-ish crop as well: This crop reduces some of the extra noise of the repeated pattern yet provides enough anchor to still retain the simple geometric shapes in the overall composition. I wonder if burning in the sky in the left side a little bit just above the smaller portion of the building might add a little more contrast. With this crop, I again get a sense of a larger figure dominating a smaller figure – giving the photo some extra emotion.
Finally – this set of images is a great example of how color might be a distraction sometimes. By choosing monochrome processing, the gradients and contrast and smooth textures are emphasized. While I’m curious how these same images would look in strong color, I think we would be much more drawn to the contrasts of the blue and white/cream tones rather than the graphic lines and geometric shapes that are far more important in these images.
All of the images are very well composed and presented. As I mention above, this scene is worth further exploring and presenting as a unified photo essay.
Su-Lin Meyer San Francisco, CA
This series is comprised of snapshots throughout a North African hotel, and as a group, conveys an essence of place. There is a sense of relaxation, simplicity, and leisure. Forms are reduced to basic geometries, there is a lack of excess, and the environment is simple and pure. The removal of color in this series allows the viewer to focus on basic form. The skies are vacant of clouds and movement, and our attention as viewers is instead drawn into the play of light and shadow across surface.
In #2, the blank wall is punctuated by the dark hollows of the windows and the casual layout of the seating. The sun is high in the sky which helps convey the feeling of a warm climate. Looking at this photo, I find myself wondering how this scene would change had the shadows been longer and more dramatic. The small punctuations of dark shadow in this photo would be extended, and perhaps the overall effect would make the photo less washed out. For example, the stair railing is barely visible in this image. However this is also part of the photo’s appeal… the serenity of midday at a resort.
Compositionally, I like the somewhat whimsical layout of the chairs and how they balance against the very strong geometries of the facade. The emptiness in the center of the photo, whether intentional or not, further emphasizes the dispersed nature of the layout. It’s a sparse, minimalist spatial experience, and this view has framed its emptiness and emphasized a flat quality. This scene could also work quite well if there was a person walking down the stairs, though that would change the very nature of the photo. It would become more about how a person inhabits space, and less about the spirit of placid emptiness. Technique wise, I might have tried to straighten some of the lines in the windows, and along the bottom of the wall, in order to minimize the slight skew.
The use of shadow in #3 is more distinct, which immediately draws me in. This image is quite captivating in its use of values. The sky moves from dark to light and the walls move in opposition, from light to dark. The balance and play between these is quite nice. It moves the eye up and down through the composition smoothly, as opposed to #2 where the eye is darting from each isolated element to the next.
The simple demarkation of the shadow on the wall is lovely. The light is stark and it has given this photo a sense of being under a very strong, almost artificially bright, light source. It reminds me of a stage set for a play, or the vacant architecture in the paintings of Giorgio deChirico – an ambiance that I personally love. This photo has a transcendent, timeless quality and purity. I only wonder what other shots the photographer might have taken of this corner, at different times of day. The play of light in this area throughout the day must have been a joy to shoot.
Image #1 is alluring compositionally… the photographer has captured the folds of the facade in this corner quite well. I appreciate the mild sense of vertigo looking up at the building from this angle. The light must play in these folds and corners so beautifully, and I feel that the contrast between surfaces could have been emphasized more. This photo leaves me wanting more… I want to see how the light plays sharply across the flat planes and how it etches dark shadows into the corners. I want to see a bit of drama….
Again, similar to #3, I love the anonymous, simple purity of form. Basic geometry with no decorative excess. There is a beautiful, somewhat vapid emptiness, which is what I love about minimalist architecture.
The fourth image is the least captivating of the series, in my opinion. This one is by contrast more about detail; I find my eye flitting around the composition to the various elements and rhythms of pattern. Again, as in #1, the play of light and shadow is subdued. In this case however, heavy shadows could make this photo too busy, especially in contrast with the other three, which are purely minimalist. I think this photo is of a different typology. It was taken to show an intersection of details, instead of framing simple plays of light or minimalistic emptiness, like the others. Compositionally, I think this is the weakest of the group. There is no “wow” factor or strong visceral reaction when I look at this photo. It’s simply a nice photo, but does not create an ambiance or present a narrative like #2 and #3.
I imagine this hotel offers a whole series of photos that explores the play of shadow, form and surface, and the photographer has tapped into this. I especially see this in #2 and #3. Light and shadow add compositional depth and drama. #1 is just slightly more tame than I would like it to be… it feels like it’s holding back. #4 does relate to #2 and #3 somewhat, in a compositional sense, but doesn’t have any deeper element of transcendence like the others allude to.
I do love the quiet, elegant nature of black and white, but part of me feels like I could be missing out on witnessing a beautiful play of color. I imagine these sheer, white walls cutting across a clear, deep blue sky. Although these shots might have worked well in color also, the nature of this series would change. Presenting these views in black and white adds a certain dimension to them, an ambiance of memory perhaps. They are devoid of the liveliness of color, devoid of excess decoration and form, and skies are reduced to smooth, featureless backdrops. It’s a quite compelling ambiance and I can understand why the photographer chose to present this series in monochrome.
Tilman Haerdle Munich, Germany
The photos, set in black and white, show parts of very clean, reduced looking buildings. The photographer explained to us that they belong to one of the Sol y Mar hotels in Egypt. One photo shows two deck chairs that hint to a recreational area. The series is untitled yet it is clear that those 4 photos belong together as they are linked by a common style.
The images are very much reduced to simple polygonal shapes. There are additional curved elements, especially in the fourth image that shows some kind of a balcony. Apart from the deck chairs we only see the building and the sky as a background. The buildings are further decomposed by different levels of grey as the shadows create their own shapes on the walls of the buildings. In every image we only see parts of a building, the viewing perspective is always looking up. Probably only few editing steps were taken, most likely some adjustments in contrast and brightness and cropping.
Since it is architectural photography, we’re focused on the buildings and their situation. All of the images convey a very minimal approach to architecture. Thinking of Northern Africa, sun, heat and the desert come to mind immediately. The buildings underline those associations. The white color reflects the sun in order to leave the inner parts of the building as cold as possible. The sky is perfectly clear as we would expect it to be in this region. The very simple geometries, apart from those arched windows and openings are a tribute to a very clean approach to architecture, as we know it from Bauhaus. The arches are symbolizing the local architecture that is rich of arches, curved roofs and ornaments. Very often buildings in this region have the same color as the sand, the white tone was probably deliberately chosen to stress the relationship to minimal architecture.
The images are beautiful and very aesthetic, their composition reflects the cleanliness of the depicted architecture. By forgoing the use of color the deconstruction to mere shapes is further enhanced. The photographer used the different intensities of the shadows to his advantage. Image 1 and 3 are very similar as they both show a similar scene so it would have been possible to eliminate image 1 from the series as it is the least necessary. Image 2 adds some human element to the situation by showing those deck chairs and some (hidden) stairs where we can imagine that someone steps down to the chairs. Image 4 is the most detail-rich image with those many arcs in different lengths and lines in different tonalities. I’d probably use this one as the signature image for the series as it also creates the best link to the region the building is located in. I could imagine a more extreme version of image 2 by cropping it to the point where no sky is visible. Still, those images very much create the desire to visit this very place and enjoy not only the sunny climate but also the pleasant environment for a relaxing vacation.
Fernando Prats Barcelona, Spain. [translation in italics]
Mirar y volver a mirar estas fotografías me traslada, cómo no, a lugares imaginarios. Ciudades que es posible y hasta tentador re-construir dejándose llevar por el pulso de una muchedumbre que aún no ha concretado sus futuras citas. Fragmentos que funcionan como índices e indexan objetos, significantes vaciados de contenido vueltos a rellenar mediante la acción del fotógrafo que se detiene con más o menos calma, reflexiona con más o menos prisa y decide un relato posible más o menos ininteligible frente a una multiplicidad de instancias narrativas al abasto.
Looking and looking again at these pictures, they moved me to imaginary places. Cities that are possible and even tempting re-build carried away by the pulse of a crowd that have not yet finalized its future appointments. Fragments that function as indices and index objects, signifiers emptied of content and re-filling through the action of the photographer, ponders more or less quickly and can choose a story more or less unintelligible against multiple instances narratives.
En la fotografía arquitectónica, el contexto suele estar dado por referencias al autor-arquitecto, cuando el autor-fotógrafo aísla la obra de su entorno, o al objeto-ciudad, cuando en el encuadre se permite la entrada de otras hipotéticas estructuras relacionales, habitualmente dadas por gente que se dirige de un punto a otro y es contemplada, que vive, vamos. En el caso de estas cuatro imágenes la deliberada ausencia de estos elementos nos remite, como mencionaba al principio, a lugares imaginarios. Tal vez se trate de las ciudades sutiles elucubradas por Calvino y digo tal vez porque así prefiero desearlo. Desconozco casi todo de estas fotografías excepto a ellas mismas, lo cual me satisface. Veo lo que aún permanece de sus datos EXIF aunque no sé sus títulos, intenciones previas, locaciones o autores.
In architectural photography, the context is usually given for references to the author-architect, when the author-photographer isolates the work of its environment, or object-city when the frame is allowed in other hypothetical relational structures, usually given by people who go from one point to another and is contemplated, that live, let’s go. In the case of these four images the deliberate absence of these elements leads us, as I mentioned at the beginning, to imaginary places. Maybe it’s the “subtle cities” conceived by Calvino and say well maybe because I prefer to desire it like this. Am unfamiliar with almost all of these photos except themselves, which satisfies me. I see what remains of their EXIF data but do not know their titles, previous intentions, locations or authors.
Desde un punto de vista técnico, advierto una preocupación por la composición enfatizada por sutiles recortes a posteriori del encuadre original. El punto de vista elegido refuerza el uso de líneas y diagonales; de la misma manera que la gradación tonal homogeniza la serie y le otorga al espacio negativo cierta uniformidad que beneficia el resultado final. Se agradece que estas fotografías intenten realzar lo fotografiado sin haberse embarcado en un sórdido compendio de apps coleccionadas.
From a technical standpoint, I notice a concern with composition which is emphasized by subtle a posteriori cuts of the original frame. The chosen perspective reinforces the use of diagonal and lines , in the same way that the tonal gradation homogenizes the series and gives the negative space uniformity that help benefit the final result. We can appreciate that these photographs attempt to enhance the photographed without having an apps’ collection show.
Considero que se trata de una serie lograda. Se transmite la dureza solitaria de estructuras que aguardan bajo un sol que insta al resguardo.
I consider this a successful series. A lonely hardness of structures is transmitted that await in the sunshine urging the shelter.
Quizá hubiera planteado los encuadres para no tener que modificarlos luego -incluyendo el ángulo y tratamiento de la perspectiva en la imagen 2, y ganar en detalle-enfoque o minimizar el grano; aunque evidentemente éstas son decisiones y prioridades de índole estética y por lo tanto, intransferibles.
Perhaps I would have raised the frames to avoid having to modify them later – including the angle and perspective treatment on image 2, and gain in focus-detail or to minimize the grain, although obviously these are decisions and priorities of these kinds of aesthetics, and therefore non transferable.
I am a wife, a mother to four wonderful children. Photography is my first language. It’s how I can share my thoughts, visions and dreams. I studied photography and fine art at various colleges in London, which enabled me to harness the creative soul within me. I am currently based in London, however Photography has made it possible for me to ‘visually’ travel on a global scale. My own photography business was launched in 2010, alongside my blog as a creative writer. It wasn’t until November 2011 that I realised the true potential and versatility of the iPhone. Through mobile photography, my creativity has evolved, my interpretation of life has been revolutionised. I am a visual storyteller with a passion for telling stories . . .
I’ve been doing photography at some level since before high school. I fell in love with the darkroom back then and am thankful for having started on film. In college, digital photography consisted of an early version of Photoshop and trying to find time next to a computer with an expensive scanner for the prints I’d made in the darkroom. Digital cameras were still a decade away from being commonplace. I snuck a few prints into some shows and somehow ended up with some recognition. Now, with the iPhone, I can combine all three elements nearly instantaneously and share my work with a much larger audience. And these days I continue to sneak into photo shows with iPhoneography, including having several images chosen for honorable mention in both years of the Mobile Photo Awards.
I chose a path away from photography, however, in college and by day I work with a Webby Award winning government web team. Jack of many trades, I suppose can call myself a webmaster. Still, I make time to run away from the cubicle walls and venture into the world of art, both as a creator and as a consumer. A few years ago I found myself hanging around a photo critique site, PhotoSig, and discovered I could write a decent critique (affirmed by the site’s editors when my critiques were chosen as featured critique several times). I have learned that in looking at photos more deeply it makes me a better artist. I have also come to see art as the polar opposite of dogma, since life is full of paradoxes and juxtapositions that go way beyond the constructs of the reality in which our minds try to keep us.
Some people actually know me as a musician more than as a photographer. And vice-versa. I enjoy writing. I also know way too much about baseball and am a passionate Seattle sports fan. Again, a jack of many trades but master of none.
I’m an architectural designer and Chicago native, currently living in the San Francisco Bay Area. In all of my creative work, I strive to create refined. I value the power of simplicity and minimalism – “no more and no less”; and the reduction of elements to an elegant, self-contained whole. When I photograph and compose, I enjoy finding innate beauty in clarity of form and balance of structure, color and light. As a creator, I live for the moment when an image or design simply resonates to me, and I know I have found my solution. All of my photography is 100% mobile.
I’m 44 years old and work as an IT consultant and software developer. Living in Munich, I’m happy with my wife, my daughter, a colorful patchwork family and an array of cats, dogs and turtles. I began taking mostly travel snapshots since I was 18 or so but I didn’t really start to take photography seriously until I found Instagram in October 2010. Since then it’s an integral part of my life to take pictures of everything I find which can be, well, everything. While the iPhone, especially with Hipstamatic, is my main camera I really enjoy to shoot with a DSLR, too. In the end, it’s all about photography. If you browse any of my galleries on IG, Flickr or 500px you’ll find that I have a certain inclination to architecture and landscape but I also love everything that is weird or out of place.
fernandoprats researches from photography, design, poetry, music, video and other disciplines, the word and its representations.
He was born in Buenos Aires, and he lives in Barcelona from a decade ago. He’s the author of many poetry and photography books, have directed different art & culture magazines and has received several awards for his photographic works.
In 2012, his mobile photographies have been published by Life in LoFi, iPhoneography.com, IphoneographyCentral, The AppWhisperer, The iPhone Arts and more. He has been part of the recent exhibitions MINA (Mobile Visual Arts Showcase) @ FRINGE Festival 2012 (Wellington, New Zealand), Depixtions (Orlando, USA), IX Colourgenics (Toronto, Canada) and Ubiquography (Barcelona). He has reviewed some of the leading photographic accessories for mobile media as Gizmon’s lenses, olloclip, Joby or the Glif + and he’s a beta tester for some new apps dedicated to this subject.
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You only see ’em drivin’ cars out on the street – Missing Persons
Street photography in Los Angeles and the search for stories
I’ve described LA as a fractured empire and that’s what it is, a disharmonious collection of cities that bleed into each other through arteries and veins as freeways and streets, where no body walks in LA. While street photography isn’t all about the pedestrian it is about people and that can be difficult to capture in the city that created the car culture.
There are pockets, neighborhoods and where you can find opportunities to see people engaging each other outside of contrived setting of a mall or shopping center. The area I am most familiar with is Down Town Los Angelesand its eastern fringes the Toy and Garment Districts and Skid Row. In these areas there is mix returning. For years and until about ten years ago with the bravery of some forward thinking folks, down town la (DTLA) was a virtual ghost town with those employed in the area fleeing, heading back to their homes out in the suburbs. As the rich and well to do, have started to return and stay, the mix is back, for the time being, people, in various stations of life, from the homeless, working poor, hustlers, rich and hipsters.
This mixes is likely to go away with the pendulum swinging in the other direction with gentrification hitting its stride. Case in point the ending of a era with the purchasing of of self proclaimed “last dive bar in LA”, King Edwards Saloon in Skid Row, closing its doors, ending over a hundred year run. But like the new management and its handling of the once King Eddy, nothing is official, yet, and still the low down of the town’s future is yet to be written.
An exit from the freeway and a crossing of the 4th Street, bridge five dollars for parking are the bugles to me, the releasing of the hounds, the hunt is on. For me, it is not only about the picture, but about a story, about an interaction. My photography I often lead with my ears – that is i am looking for that story and the accompanying picture. One making the other more than the sum of their parts. What makes this person tick? What is life like for them on the other side of their eyes – how different is their world from mine?
In a place like LA with a lack of widespread public space it is important to learn the art of conversation and story telling. There is a beauty of connection if you have a willing ear – which is something you can learn but not fake. I’ve had the pleasure of learning from two master story tellers, which has helped me to document Los Angeles.
Shooting with Story Tellers
I’ve been able learn the art of the long story from Robert @visualwhiplash_ who I’ve seen disarm an angry drunk with a few well placed question and a quick personal connection. And from someone who feels relaxed and at ease a story most always follows. There have been times where some extremely personal stories of tragedy or success and some times with in the same story as in the case of John, Robert recounts his story,
“I stabbed the guy seven times. I didn’t handle it right…Seven years hence, things are looking up though: he’s off drugs and has two grandchildren whom he proudly pronounced were potty trained by him.”
This you won’t find or see with just a portrait or just a candid shot. There needs to be a connection longer than a focus and white balancing some semblance of trust. I am not naive to think that all of what I’m being told is gospel truth but I tend not to think its all a lie either. But even if it is a lie it is OK with me, as I account this to be a skill of survival and the story is based off their read of me and what they’ve assessed will be a working tale. Maybe it will be to get a burger, beer, or blunt. While I have my beliefs, which is a big part of why I’m here in the first place, I am not there to pass it on those who I photograph – but now this is starting to sound like my next article…
The art of the short story has been taught to me by @cachafaz on Instagram Pachi in life. The dignity of a just a first name, to not be counted as unseen, to have an identity, a past, an existence. While Pachi will sometimes engage in a longer story, to me, it’s his use of a name, a picture, repeated, that has given his work such power:
Dhurba, Curtiss, Alonso, Dave, Daniel, Taylor, Nelson, Samuel, Robert, Mike, Pablo Perez, Jamal, Anthony, John
Portraits with names taken with my brief time with Patch on his last visit to Los Angeles.
This has been my approach to street photography in a land, city and time where where folks are out and about mixing with each other are hard to come by in a space so large. I’m not an expert of LA and so my search continues to find people to hear stories, but I know that where ever I go LA has taught me well, that its isn’t always just about the snap but about the connection with the ear.
As I’m fond of saying, “A picture of a white whale doesn’t tell the story of Moby Dick.”
Suburbia, an environment in which all of its classes, qualities, and ideas can be both easily distinguished, and blurred, verging on the point of invisibility. There are those who love it, hate it, avoid it, and those who dwell in it. This essay is an analytical yet simple visual dissection of the given environment, in a sociological context. The goal is to achieve a better understanding on this place as a whole, and to understand its many issues.
“Important News In Suburbia”
There are those who support the idea that suburbia is a place where everything is “perfect” and correct. Other common ideas regarding this place deal with the political, social, and economical hierarchies that have been established, and usually stem from the opinions of those who don’t live in this place. It is normal for people who have seen it at a glance to generate negative thoughts about what they have seen.
“A New Generation In Suburbia”
The reality is, there is a point in which the suburban setting can have a negative effect on those who are grounded in it. Different from a city setting, there is a lack of balance in the social, political, and economic classes, ultimately causing people to be extreme in what they believe, and how they act. There is also a heavy sense of pride that is developed among opposing parties within this social group, as they believe there is no reason to find common ground. This can cause future generations to grow to either fear or despise different people, in other social situations and different environments.
“Young Woman In Suburbia”
There are many different results of the actions performed by those who consciously and subconsciously choose to conform to the suburban lifestyle. This in itself isn’t a negative thing. The negativity is exposed when people choose to turn the suburban lifestyle into something that makes it harder for a community to connect and learn from each other. Adolescents raised under the negative side of this lifestyle find themselves searching for something different, and in the end, are left to develop their own opinions on this society which they are apart.
“Buildings In Suburbia”
It is valuable and healthy to recognize the flaws in your community. It is a way to start change, wherever you are. I am apart of a suburban community, which is why I chose this as my focus for this photo essay. I often find myself saying things regarding the “boring” nature of my community and how I never want to shoot here, but I have realized that there’s a lot more to this environment that you can’t see at a surface level glance. I encourage you all to do the same, wherever you might be.
“War Memories In Suburbia”
The inspiration behind this essay is mainly based on my reaction to the notion that you will only find important news in the grittiest, lowest places. This idea challenged me to look for a story in my area, and really pushed me to take a crack at a plain, but mysterious subject that has been a popular topic ever since the establishment of this type of environment. If you would like to respond to this, feel free to comment with your thoughts and opinions on this society, or any other environments and social situations. I am grateful that I had the opportunity to share my thoughts with you all, and hope you have enjoyed this not so hard hitting exposé on suburbia.
“We are not creating anything new – we are building on the work that has already been done for 500 years. We are not saying anything new – we are just carrying on the teachings of the people who came before us.“ – Roger Fernandez (RF), from the Klallam and Makah people
Idle No More rally in Seattle, WA
January 12, 2013
I have never been to a native ceremony. In a position now to be reporting on one seems foolish, almost dangerous. Perhaps this is also because I went expecting to be a part of something other then I was, as is often the case in my case. What I anticipated was a rally of sorts, a ragtag protest in the spirit of others I have participated in the past – demanding of you, chaotic and electric, people’s persona’s exaggerated by the experience of collective dissatisfaction. Indeed, the movement of Idle No More began in protest over a piece of legislation introduced in Canada called C-45 which calls for the opening of access to waterways in Canada including those qualified under treaties with First Nations people. Yet what I witnessed, and I use that word precisely, was so natural, seamless, and calm. In a word, they remembered. In a history of struggle that spans 500 years, there are bound to be many important actors. We remembered Chief Seattle and Chief Chetzmoka for their diplomatic contributions, and others like Vi Hilbert and Pearl Warren for support of Indian cultural development, and Crazy Horse and Geronimo for their firm stand against oppressive injustice. Together, these people were in the pivot points of native history and responded in ways that are worth remembering.
Photo by Bryce Stevenson
“Si’ahl, who we call Seattle – leader of the Muckleshoot, Duwamish, and Suquamish people – he fought for his people everyday of his life.” – RF
It would be no surprise to say that 500-year-old campaigns such as this go through periods of lull. For the Irish, it took 500 years for the British to conquer them, and another 500 to kick them out (of sorts). But on a patchy blue Saturday afternoon with the air biting at our skin, natives representing tribes of the Pacific Northwest were hootin’ and cooin’ and lamenting and singing as they joined, in spirited empathy for what has become a dwelling of solidarity for aboriginal peoples globally, the movement of Idle No More.
In this campaign, this point of call, this ostensibly free expression of life and the sacredness of it, native people brought all of themselves to downtown Seattle. It was a day where much more was witnessed than transcribed, and I had a hard time understanding if natives were a community ever really idle at all. Notwithstanding the obvious references to its origins in Canada with Chief Spence, how did this expressive movement of solidarity translate halfway across the continent and still holding meaning for these people here? Was there a time that native people of this region were idle too and now stand, or was it more than that?
“Vi Hilbert from the Skagit people who fought for us in the cultural way all of her life.” – RF
For some, like a few elders I spoke with, today was just more of the same. “We have been doing this for centuries in our ceremonies, in our canoe journeys, in our celebration, our dancing, theatre. Every weekend there are gatherings, community gatherings, tribal gatherings, honoring the veterans of the foreign wars, honoring the elders, honoring the children. It’s a continuous thing. It doesn’t stop because of the clock. So this is just one of those many things.“
As I asked people again and again what of it, they could not exactly say themselves, and at times, I knew simply did not want to say – a community habit for honor and respect of which I cannot help but think of fondly.
But something was different and people knew it. “A lot of our people choose not to be apart of this outside world and the Idle No More [movement] showed us that there are no boundaries.”
Maybe it highlights the seasons that separate young and old, but the younger of the crowd were sure that here, something important is happening. Said Gyasi Ross, a young man from Blackfoot Nation: [people now know] “its ok to sing our songs, our traditional songs in public places. We don’t have to be ashamed, and have to put those into a corner, into a powwow circumstance to be Indian. We can be Indian anyplace we want.”
So it is different then, and still the same. Nothing new here, just now public and proud – a change that is ostensibly a statement to Indians themselves.
Photo by Bryce Stevenson
Gyasi, continued: “of course its important…it’s a gathering of natives, gathering of indigenous people to better our lot in life, to be proactive, to not play the victim stance, but instead taking control…taking control of messaging, informing the legislation, informing ourselves…it is kind of passing the torch, both symbolically and literally, from one generation of resistance to another.”
To Gyasi and others like him, days like this are becoming more familiar. It was a day of coming out of sorts. It was part celebration and part demand, of cultural potential and present existence. Here we are! the day went. Every moment choreographed to tell the world we will not stand by as our brothers and sisters are disrespected in Canada. “We have been struggling for 500 years and we will continue to struggle, so do not mistake us. We may have been dormant, on issues that matter to us, afraid to publicize ourselves, but now
here
we
are
a bunch of noisy Indians.”
You could feel the pride, and this is how I could start to nail down what is Idle No More.
“To stand up for that life is what I do” one community elder said, “Any time I can represent who I am and where I come from I am more than happy to be a part of that.”
This is Idle No More.
Or Idle Never Was,
Or Invisible No More,
or whatever.
Whatever it’s called, Idle No More was the acts themselves. It was the prayers and hope for Chief Spence on hunger strike in Canada. Idle No More was the poignancy that helped us forget the cold, as leaders from different peoples stood, spoke, encouraged, bringing the best of their small band of warriors to the benefit of the whole. Idle No More was the passion with which people sang songs that have been passed down for generations. Idle No More was the way in which people leaned into the collective pain of historical loss, present isolation, and somewhat obscurity that native peoples are in what is American society today.
Photo by Shauna Causey
“Bernie Whitebear from the Colville people who fought to make this place a good place for the native people here through our culture and our education” – RF
But Idle No More was especially about the earth people said. It is about all these other things, but it is mainly about the earth, since this is how it all began. The dark and soft underbelly of Idle No More. Hope and pain – they come in pairs. The earth sustains, but must be sustained, and that, is not happening.
“The message that I gave there is not only the body and soul who we are, but its also a culture, and our culture primarily in this country is the birds, the bees, and the trees, and as long as that is going on then we have a life here, but if we don’t pay attention to that as a human being then our life is cut pretty short. We waste our water, pollute our air, destroy our land, and eventually that ozone disappears then we don’t have much left. That’s what I mean stand up for who you are as a human being.”
While festive, there was a palpable fear among the crowd – optimism couched in nervousness of dropping the baton. That in this 500-year history of native struggle, that theirs would be the generation that was truly idle, that let the issues before them pass unchallenged, that did nothing and went nowhere except farther into the isolation of their reserved land. As much as Idle No More is a circling outward to the world to say, “see us and respect us,” it is also clear that our ceremony that day was like an AA meeting where people and community are replenished and reinvigorated so that they can carry on. When I asked Ross what he wanted to see going forward he said: “What I want to see with my community is to see my community doing exactly what we are doing.”
For broader American society, I have my doubts Idle No More will mean much. But to the native community that is replenishing itself, this day was a day to caste out demons of idleness, to reorient oneself and ones community. Given by the elders who told story after story, we all drank from the cup of our humanity and were reminded to stand tall and proud and to live fully. I have not been apart of something so sacred on a Saturday in as long as I can recall.
So I sat down on my porch last night for a good 15 minutes in the rain.
I thought to myself, Will this world be safe for my children to live in when the future comes?
No it will not, unless we fight for what we believe in. For our rights to take care of this land that our ancestors fought for and have died for. Our grandparents that have put their own lives on the line to protect the environment that we live in today. We are not only supporting one person or one country. We are fighting for a whole nation, a whole generation of children that will be taking our places 20 years from now.
This is a revolution.
What we stand up for right now will effect a lifetime of decisions that the next generations after us will come upon. They will learn the respect that we have for the trees in our backyards, the oceans, lakes, and rivers that we swim in. And most of all, they will learn how important it is to take care of what is taking care of them, Mother Earth.
Let us stand up and fight the same governments that took away our clean lands, clean waters, and clean air. For we will be teaching our children what our ancestors have taught us.
Fight for our land and our land will fight for us.
We will be IDLE NO MORE.
written by Chad Charlie, from the Ahousat First Nation on Vancouver Island, BC Canada
Photo by BP
Contributors
Photos
Shauna CauseyTwitter / Instagram / Facebook
Shauna Causey has managed communications, community relations and social media strategy for companies, non-profits and elected officials. She’s worked for the Seattle Mariners, FOX, Fox Sports Net, Comcast and Nordstrom.
She was voted in the 100 Top Women in Seattle Tech by TechFlash and named one of Seattle’s 40 Under 40 by the Puget Sound Business Journal. Shauna serves on the board of directors for three nonprofits: Social Media Club Seattle, Leadership Tomorrow and Reel Grrls. She’s also ad advisor for Team Up For Nonprofits and Jolkona.
Bryce StevensonFacebook / Instagram
I am Bryce Stevenson, I was born and raised in Seattle, WA. I am an enrolled member of the Ninilchik tribe in Alaska, as well as descended from Gros Ventre (A’aninin) of Montana, and multiple other tribes in the Kenai Peninsula area of Alaska. I received my first (disposable) camera at age 9. Aho!
Michael SchmautzEmail
I’m just a guy from Seattle.
Roger FernandesWebsite
My name is Roger Fernandes. My native name is Kawasa. I’m a member of Lower Elwha Band of the Klallam Indians from the Port Angeles area of the state of Washington.
I was born and raised in the Seattle area. My mother moved to the city when she was a young woman and I was born in 1951 in Seattle. So I guess I’m what you would call an urban Indian, in some regards that makes life difficult in figuring out your native identity. In other regards it cam be seen as an asset. As when you do begin to look for your tribal identity it becomes a very focused search. That focused search led me to art and language and ceremony and story. So the past few years I’ve been telling Native American stories from this region for my own tribe as well as the tribes of the Puget Sound area.
Gyasi RossTwitter / Website
Gyasi Ross is a member of the Blackfeet Tribe and his family also comes from the Suquamish Tribe. He is a father, a writer, an entrepreneur and an attorney. He is a graduate of Columbia Law School, currently practices law representing tribes for Crowell Law Offices-Tribal Advocacy Group and is co-owner and Vice-President of Red Vinyl Records. His first book of short stories and poems, Don’t Know Much About Indians (but I wrote a book about us anyways) was published in August 2011 and is in its second printing. The book has made an impact in Indian Country and beyond and has received universally positive reviews. Gyasi is also a frequent contributor to Indian Country Today Media Network, and has contributed to other publications including The Seattle Times and The Huffington Post.
Chad Charlie Instagram / Facebook / Website
Canadian born and Seattle bred, Chad comes armed with a heavy-hitting style, fine-tailored to make your stomach hurt. Chad got his comedy career started in 2011working with well known comedians such as Elaine Miles and JR Redwater, much to his surprise for this great amateur he opened for Elaine Miles and JR Redwater, and will continue to work with JR Redwater. Chad has always been a character, always has a something funny to say he is one comic not to be missed.
In Sickness and Health: A Photographic Essay by Rose Sherwood
Photos are from top left to right
1. This is my husband, this photo was taken last week. Last April he had a bone marrow transplant. He had endured non-Hodgkin’s lymphoma since Dec. 2000. The doctors recommended that it was time for the bone marrow transplant because his lymphoma had transformed into MDS and then it would change into leukemia and then there would be no turning back….
2. The earlier image showed my husband out and about ona daily walk that we take. He is slowly building up his stamina and we have routinely established a relative normalcy within our lives.we are able to go out to restaurants but I know that he continues to worry about how little progress he has made.
3. Most of the time during T.’s recovery has been spent on this couch. I use my time photographing the light and shadows around him. T. is a half-glass empty kind of person, I guess we are opposites as far as this is concerned because I like to be optimistic…. Being hopeful has always worked for me, but my character has been tested through these times of what should be “the golden years”….
4. The journey that my husband is on is also one that I am part of. It has tested my patience and my faith. I always feel that if you resist what comes to you then you will have a harder time moving forward in your life. Acceptance tends to be an easier path to navigate even when the going is tough. I pray to the God of my understanding, to be more patient with T. but God has taken a lot of time in granting me that attribute. I have not been patient and I get angry with both T.and myself…. I guess it’s my failing and, perhaps,resistance in totally accepting things as they are. The light is so close but so far away….
5. This is howT. and I have been spending at least one day every week. This is the infusion room at the Wilmot Cancer Center. T. has infusions to prevent him from becoming dehydrated and to help him maintain stability. Having so much time in the hospital, has given me the space to reflect on this time i my life. Wearejuxt both becoming older. I feel the effects of the years. I continue to be hopeful towards the future.
6. In turning back and really looking at what time has presented us with, August was the toughest time for T. he had been diagnosed with a gall bladder that was not doing it’s job and it had to be removed. Up to that point,he had been quite ill. The assaults of the gall bladder attacks set his health back.i was worried, but he needed to confront this problem head on,this truly was his journey Nd I became an off-to-the-side presence.
7. A decision to continue….when you Re documenting a journey, there are expected ups and downs that must be met. As a photographer, an artist, and as a human being you must make a decision as to how much of yourself you share with your audience. How much do you reveal? And do the surrounding times and circumstances hold you back? The past few days have been anxious,but I share the trials of our journey because there is hope within the times of hopelessness…. I looking.
8. It is time to continue to look back, over this last year, at the personal journeys that I have taken with my husband. This summer was very tenuous and I spent much of it worrying about whether he would get better or not. I questioned my faith daily, I questioned my strength and courage to continue. I truly believe that one must meet face-to-face, the conquests and the conflicts that come to you and accept them, without resistance, whatever they may be. Ther are blessings in the tumultuous time. I gained an active ability to have conversations about how I believe, what I believe and I became spiritually resilient. There is a grand design to living our lives and you must journey forth and take an active part in seeking it….
Thank you Rose @rmsherwood for allowing us to come on your journey through this with you and your husband. You story inspires and the Juxt family is sending you both love and health.
Snow Day: Seattle Fights For The Guinness World Record by Bridgette S.
If you weren’t there this past Saturday during Seattle’s record breaking Snow Dayyou’ll have to try and envision 5,834 participants all geared up for the largest snowball fight in Seattle Center. This number beats Korea’s recordof 5,387 participants set in 2010 – all of this made possible by the crew who hauled in over 160,000 lbs of snow!
It was a crisp, cold day in Seattle but that didn’t stop everyone from showing up and having some fun. Rich Kids Brandset the tone with music pumping all day long.
There were people dressed in full on ski suits and some were even equipped with helmet cams – it was THAT insane. I, myself, went dressed to withstand the cold but forgot one important thing: goggles! Thankfully, organizers of the event thought to stock enough for those of us who weren’t fully prepared. We all made sure we were protected before heading out into the war zone!
About an hour before the fight began, medics started rolling in and that’s when we realized it was about to get serious (and dangerous!). If you haven’t already seen the news footage, then here’s a quick video I took behind the Carters Subaru fort – unedited and uncut ; )
Community supporters, REI, Attendible, Concur, Jawfish Games, Comicon, Walmart, Portent, Rainier, PCFand Washington Athletic Club, each teamed up to build the largest and most durable forts and castles. The idea was to make one that would survive the massive snowball fight and keep those in it sheltered. Some went down even before the fight started and others withstood the heavy hitting – just barely.
Local photographers, Barbro, BP, Michaela, Rachel and Victoria, were there with me to help document the event.
Here is a collection of their images and reaction:
“I walked off of snowless streets in beautiful sunshine into Seattle SnowDay, and the first thing I saw was a Walmart sponsored snow fort, and people all over the snowfield working busily to the tunes of Deadmau5. Wow. Huh. I thought, as I shaded my eyes from the bright winter sun. YES. The sun was out that day, and the temperatures below freezing. If there had been precipitation, it would have been snow. I gave up right away being upset about Walmart. Because, only in Seattle can you schedule a perfect winter’s day with brilliant sunshine, trucked-in snow, and make it the best day ever, with friends.” – Barbro
“At first I wasn’t going to join the team as I was out shooting another event. After the first finished, I texted B and Rachel and even though the sun was just about gone and I was cold and dog tired, I said to myself, ‘Self, this is for the World Record…you have to go and join the team.’ I got there and ran into Matt, a dope pro photographer, and we walked into the “gauntlet” together. It was nuts. Press release was a wrist band and so the big cameras had their cameras to keep them somewhat safe from getting pelted. Those of us from the IGers Seattle/Juxt media team, had our iPhones. I got in there and no joke, got smothered by snowballs. It got me excited for the opportunity. I went to the sponsored snow forts for cover. Rainier Investment first: Bad place, it was in the middle and the fort was surrounded. I got PELTED. Moved on behind the REI fort. A bit better, got some shots, This shot with the guy and the space needle, he took the brunt of all the snowballs being he was higher up. I told the team when I got there, ‘this is nutty and it makes me feel like I’m 12 years old…’ I didn’t know if I wanted to take photos or get into the snowball fights. I opted for both and by the time the bell rang for us to put our snowballs in the air, I had already gotten a few bruises from stray snowballs. Rachel and I stayed close to Carter Subaru’s fort and in retrospect, wasn’t the greatest idea. Lots of ballers there, but the cool part is I got to throw, Rachel took the dope shots. It felt like New Years Eve. Bell rang and boom, snowballs lit the sky. On the way out, I got hit in the mouth and like when I was 12, I laughed and scooped up some snow and tagged the next person. Being a part the night, being a part of making history in the city I love, being a part of all that with some great friends and shooters…it was a great feeling!” – BP
“It was so awesome to be a part of something so unique that will go down in the history books. I loved walking around seeing all the different teams and their spirit, especially the 12th man that was out in full force supporting the Seahawks. 12th man flags, jerseys galore, blue and green snow spelling out the beloved call, “SEA-HAWKS,” the team pride and playoff excitement was contagious! Seeing these fans take their pride and apply it to their snow forts just proves even further that the Seahawks truly do have the best fans in the NFL and the 12th man will show their spirit everywhere they go. Go Hawks!” – Michaela
“Initially, I wasn’t scared at all by the concept; I’ve been in snowball fights. Well, after taking that first shot to the back of my neck… a little voice in my head called out: RUN YOU IDIOT!” I didn’t. And I’m glad. Thanks to BP, the fearless bodyguard who shielded me while I shot the fight, I managed to capture that surreal moment when the snowballs started to fly and a world record was broken.” – Rachel
“The childlike sparkle in the eyes of hundreds was contagious as they bundled up and started the trek not into the mountains, but into the very heart of their city. The teams, eager to show me their work, would pause proudly beside (or on top of) their forts before resuming in their preparations for the evening’s battle. The event sold out and I watched as dozens got turned away, feeling lucky to have my little wristband and made a mental note to register early to the next few events on my radar.” – Victoria
A huge round of applause goes out to the Snow Day organizers and event staff as Seattle now holds the Guinness World Record for the Largest Snowball Fight!
Have you ever really taken the time to observed the local people around you when you take your vacations?
Some of us save so long to take the journey of a life time. Others have the luxury of making frequent vacations .
We get to our destination. We are so in the moment that sometimes we never take a moment to observe the people who live there .
Welcome to the Bran Castle and the people who try to survive as the oblivious tourist walks past them each day, never noticing them, never understanding what they go through each day
|| Doamna de brânza ||
Each day I walked past her she sat in the same place selling the same items; the homemade cheese she made herself. She was there before the dawn and would leave right before dusk. She always had a smile upon her face, but her stack of cheese never got any smaller…
|| Nelinistit ||
When you walked to the west of the lady in my previous post; you would see this man. He too was selling homemade cheese, but never sat still. Always pacing back and forth in front of his tiny unstable table. He always seemed so nervous. I only saw him two of the three days I visited.
|| Domnu Sociala ||
With his tiny traditional hat upon his head, this man was in the better area to sell items to the tourists. He would sit and chat with his friend for hours and make sells in between. Each time I walked past him he had a smile upon his face as he looked at me sneaking in an unspecting photo…
|| Porc Pielii ||
His eyes were as blue as the sky on a summers day. His traditional hat positioned perfectly upon his head. He was the busiest of all the vendors. As I walked up to see why everyone was at his stand, he was the only one selling pig skin and pig ears to eat! Popular treat for the locals and inquisitive tourists placing dares to try it….
|| Mici ||
Getting to the center of the plaza, I ran into this pair cooking mici. The aroma of the traditional treat filled the street and with that smell brought the Hungary tourists and locals a by the dozen. The entire 12 hours, I never seen them stop…
|| Bucătar ||
The line was long and the smell of the mici were intoxicating. Everyone was talking about the tasty lil treats as they stood in line. One by one, this man was handed a metal tray full of the lil mici ready to be grilled. He would take great care as he placed them on the grill. A quick hip shot and days later I seen this photo
His eyes told a very deep story….
|| Doamna de la Flaut ||
The closer you get to the actual castle, you see the people selling traditional Romania keepsakes. This lady was selling hand carved flutes and other instruments. All were displayed perfectly for those who were visiting in hopes they would buy.
She played her traditional songs and you could see her countries pride beaming in her has she played….
|| Tristete ||
This man always looked as if he suffered so much pain. He was selling cheese on the outer perimeter of the castle. I remember the tourists with their cameras passing him by one by one. None even noticed him sitting there asking for people to buy his creations. His Romanian sang pass their empty ears…
|| Steaua ||
I had the opportunity to speak to this lady after two days of passing her. She would sit in this place with a single jar of jam she made herself. When I spoke to her she would smile. What a vault of history that was stored in her. She was 95 years old. She was healthy. She was the star that shined through the heart of this small tourist town…
|| Femeie de flori ||
She never smiled, only followed for a short distance asking in her native tongue if we would buy. The flowers never left this position. Her large basket that held tiny baskets of berries were decorated with leaves. The berries were all hand picked. She never took a break. Like the many others around her, she was there from dawn to dusk hoping someone would buy something…
————————
Next time you venture off on a vacation, whether it be something close or afar, take note of the people around you who rely on you to visit….
Andre Clemente: Music, Hipstamatic and the Streets by David Norbut
David’s Introduction
I think Andre and I are kindred spirits. When I connected with him for this interview I felt we were already good buds, just catching up. His work is a great inspiration for me. He is patient persistent and as far as I am concerned, Andre has a clear vision on how he chooses to portray the world in his photographs. A master of Hipstamatic, a unique street photographer and a Bruce Springsteen fan to boot. What else could I ask for in an interviewee?
D: David A: Andre
A: I downloaded Hipstamatic and Instagram on the same day (laughs)… I even remember it was November 11th. I remember the first shot I took with Hipstamatic, it was of a chair and the framing was all messed up, and I was like “what the fuck is this man?!” (laughs)… It was cool but it wasn’t what I wanted, turns out it wasn’t on precision shooting mode. I downloaded Hipstamatic first, then I was looking for other apps with filters, and I came across Instagram. I thought, what the hell is this? Why do I have to sign up? I just want fucking filters man! (laughs)… I signed up anyway and I used it once, I posted one photo and I didn’t go back to it. I just continued to shoot with my Hipstamatic.
Fast forward 6 months later, I’m going back on Instagram here and there and I discover the folks at @Hipstaroll. That’s when I realized it is more than just these filters, that there is this community going on and there are cool, like-minded people to meet.
D: Give us, the readers, a run down of a day-in-the-life for Andre Clemente out street shooting.
A: Back when I lived in the Bay Area and I knew I was going to the city, I would always go as early as possible to try and get some of that “golden light.” Before leaving I make sure I have Mophie power stations, two of them. I usually bring an iPod as well because half the time I like to listen to music while I’m shooting. Sometimes it gets me into a mood but sometimes I want to listen to the ambient sounds of the city. It just depends on how I’m feeling. When I go out I usually have a place in mind but once I’m there I just walk aimlessly. As far as what I look for… I look for characters, cool backgrounds and light. Those are the main things I look for. I don’t really have a specific routine, I just walk and shoot what I see. When I see a character walking down the street, sometimes I ask for a portrait, sometimes I don’t. I am pretty shy. I don’t feel super comfortable asking permission. It usually depends on small talk, if they are very receptive and friendly I will ask for a portrait. I wish I was at that stage where I just didn’t give a shit and I would ask anyone, but I’m just not there.
D: Talk to me about Hipstamatic. Any combos you prefer?
A: JohnS and any black and white film is good for me. The one I have been using a lot nowadays is Lucifer VI and AO DLX. I like to decide before I go out shooting for the day. Once I decide I like to stick with it, I don’t want to be messing with Hipstamatic once I’ve decided. I don’t want to second guess myself, so I make a decision and I stick with it.
D: What do you hate about Hipstamatic?
A: The battery drain issue, the speed of the camera, the shutter. The lack of speed has improved my timing though.. instead of shoot shoot shoot, I now try not to waste shots. I tend to shoot more sniper style than machine gun style due to using Hipstamatic and its limitations.
D: Any advice for budding Hipstamatic street shooters?
A: Yes- Don’t get frustrated with it. Perservere. There is a combination out there for you, the hard part is figuring it out but once you’re past that stage it becomes a really fun experience. Once you’ve got it, it’s going to be so worth it. It makes you think about what you want, and in a way makes you a better photographer. You are stuck with this border, so you want to mind your composition and you want to keep the image straight, you want to make sure everything is alright before you take the shot, because thats what you get. You can crop it if you want, you can try to fix it, but that’s not what it is supposed to be, if you ask me.
D: Do you ever shoot with any other apps or cameras?
A: (laughs) I keep telling myself to try something else, but every time I go out there I just end up using Hipsta. I have used Procamera on a rare occasion when I wanted a faster camera, but that’s about it. I think I have one Instagram post that’s not Hipsta. I also bought a Holga, which can have excellent results, but it’s way too expensive. I think for 12 shots it cost me $23 to buy the film, get it developed, and put it on a CD. I got an SLR and I tried C-41 B&W film just to offset the crazy cost. I used it at a wedding with some Ilford and Kodak film and I was pretty happy with the results. But the one time I tried to take a street shot with a big lens, the person got pissed! (laughs) The first shot!!! Maybe 1 in 500 shots with my iPhone does someone get pissed, but I take the first shot with my SLR and thats it!! I guess it’s the big lens; it’s too intimidating.
D: Lets talk about music… I know we have talked in the past about our mutual love for Bruce Springsteen. What else are you listening to?
A: Well, I had a phase where I listened to a lot of Jazz while out shooting, it just took me to another time ya know? Some of the less popular Coltrane albums, Coltrane, Coltrane from 1962, Ole’ Coltrane also from 1962… I guess it also depends what is out. I don’t think I have a certain genre for shooting… a lot of Modest Mouse, Bruce Springsteen… workingman’s music, talking about the everyday man, which is what I may be subconsciously looking for while I’m shooting. Modest Mouse has an album called Building Nothing Out of Something, it’s a collection of B sides, and if thats their B side stuff… Shit man! There is another group from Brooklyn called Woods… I have been listening to that a lot lately. WIlco is one of my all-time favorites, the album Summer Teeth in particular… I’ve been listening to that a lot lately.
This one was taken in the heart of the tenderloin where I do a lot of my street shooting. Homelessness, crime, drugs, prostitution and just overall filth make this one of SF’s roughest neighborhoods. I noticed this junkie sitting on this chair just being extremely expressive, and I couldn’t really tell if he was feeling good or miserable… just really vocal but incoherent, twitching, bobbing his head. Whichever way, it was a pretty sad sight. He had a companion whom I think was also high on something but definitely more lucid than he was. She was overseeing used / stolen merchandise laid out on the street for sale. I pretended to be interested in book, I wish I could remember what it was, picked it up, flipped through the pages and asked how much. All this time, I had my phone by my hip snapping with the John S and AOBW combination. Shooting from the hip obviously has its disadvantages – if you think shooting streets yields alot of duds because of uncontrollable variables, then you can imagine how much more blurred, crooked or chopped body parts you get from this technique. After enough practice though, you can kind of approximate the frame of your shot from where you stand and also how much you need to tilt the phone up (especially if the subject is standing). While I started using the hipshot in seedy areas like this out of necessity (regular shooting has gotten be in some nasty situations), it has become part of my shooting style because of the rawness, the irregular framing and natural expression that are harder to achieve otherwise.
This is a portrait of a well-known San Franciscan Gabriel Angelo, a 13 year old trumpeter who performs in the street to help finance his education at the SF Conservatory. Strangely, I never encountered Gabriel prior to this day. I was walking on Grant heading into Chinatown with my earphones on, not too loud in case someone yells at me, and I could hear the trumpet from a distance. I followed the sound and could see him performing up ahead. He’s such a showman, struts around the block, so much enthusiasm, energy and movement. I got excited and was ready for some action shots. As I finally reached, he ended his performance. Not wanting to come up empty handed, I asked for a portrait. I’m usually hesitant to ask for portraits but with street performers, it’s easy. They know it’s part of the game, some will demand a buck for a photo. Gabriel didn’t really talk much, he just started to pose. He was in front of a busy street, cars passing by. I didn’t like the scene. Behind us was a Starbucks (of course) and that wouldn’t do either. So I asked if he could walk around the corner and pose in front of a white wall. This was one of his first poses, radiating old soul, and I knew I had the shot.
I took this shot on while on the up escalator on the 16th and Mission Bar station. On my way up I saw an interesting frame of someone’s head / upper body walking downstairs, the diagonal lines and the textures of the wall.I didn’t have my phone ready so I went back downstairs and took the escalator back up to try and capture what I saw in my head. It’s a busy station so on the second go, I thought I had an ok shot already but not satisfied I went back down for a third time. Then, as the street gods would have it, a marching mime drum band were walking down the stairs as I was going up. I could hear them coming down but from my angle I couldn’t tell they were dressed in mime. Then there it was, as I hit my spot on the escalator, she was in my frame. As they say in baseball, you make your own luck or you make your own breaks. I was lucky, for sure, but if I didn’t persevere and kept going at it, that wouldn’t have happened. Funnily enough, they were on their way to an Occupy May Day rally and I happened to make my way there later that day and have a few more shots of her playing the drum.
This one was taken at the end of the Stockton tunnel, which I frequently pass when I’m going to and from Chinatown. This lady was just standing there bathing in this gorgeous light. I guess on one end, you had a beam of direct sunlight and on the other reflective light from one of the buildings. I asked her if I could take her portrait and at the same time I was already taking her portrait. This way, in case she says no, I’d at least get one shot. She just nodded but I don’t think she understood me and after a couple of shots in she must have realized what was going on and waved her hand around and had an embarrassed look on her face. Thankfully, it was enough to capture the deep expression on her face in the beautiful light.
I took this one somewhere in the Tenderloin at the offices of the San Francisco Drug Users Union. They’re a pretty radical group whose goals are to decriminalize drugs and drug use; to create a safe environment where people can use & enjoy drugs as well as receive services. I guess that’s not that radical for San Francisco. Anyway, I don’t remember too much of the moment when I took this shot but looking at my drive, everything is still in numerical order so I didn’t delete anything. All I took was two shots – one of the sign and gate just to get my frame right, and then one of the Rasta dude. That means I didn’t have to wait long for the street gods to strike again. I mean, dreads, a rasta hat, the face, and him clutching his hands like that by his stomach. I guess it’s safe to say that he’s on something?
Again, on this one, it was a matter of me finding an interesting background and waiting for the scene to develop. This one particularly caught my eye because of the bridge and how representative that is for San Francisco. On this instance, I actually took several takes and again like the mime shot, patience paid off. I had two solid ones already but the positioning on the characters were just a tad off. On tight shots like this and with Hipstas slow speed, you only get one chance so timing is really important.
Ivan Vega
Jason Peterson
Ruth
Ryan Postel
Paula Gardener
Paul Marsh
Su-Lin Meyer 
Tilman Haerdle
|| Doamna de brânza ||
|| Bucătar ||
I took this shot on while on the up escalator on the 16th and Mission Bar station. On my way up I saw an interesting frame of someone’s head / upper body walking downstairs, the diagonal lines and the textures of the wall.I didn’t have my phone ready so I went back downstairs and took the escalator back up to try and capture what I saw in my head. It’s a busy station so on the second go, I thought I had an ok shot already but not satisfied I went back down for a third time. Then, as the street gods would have it, a marching mime drum band were walking down the stairs as I was going up. I could hear them coming down but from my angle I couldn’t tell they were dressed in mime. Then there it was, as I hit my spot on the escalator, she was in my frame. As they say in baseball, you make your own luck or you make your own breaks. I was lucky, for sure, but if I didn’t persevere and kept going at it, that wouldn’t have happened. Funnily enough, they were on their way to an Occupy May Day rally and I happened to make my way there later that day and have a few more shots of her playing the drum.
