Noir Myths: Erin Cross

November 07, 2020 in interview

Noir Myths: Erin Cross

Andrew D. McClees (ADM): For those not familiar with you, or your work, would you mind introducing yourself?

Erin Cross (EC): Hello, I’m Erin Cross. I am based in Tokyo, Japan. I’ve been into black and white photography for seven years now - [ED Note - you can read more about Erin’s 7 year BNW career in her own words HERE]

Formerly, I also founded MONØMANIA, the first black and white photography festival in Asia, which later turned out to be a platform.

Beginning this year, though, I decided to focus on my personal projects, specifically self-publishing photozines and (hopefully later on) photobooks.

ADM: Was there a particular personal turning point that prompted you to pursue more of your own personal projects, beyond the festival?

EC: Since I came to Japan three years ago, producing content for MONØMANIA (as a platform) and managing it by myself became a challenge. I’ve tried many times, but there was always something lacking. I realized that I need to take things slower by focusing on my personal projects first, or else my ideas will never be executed at all.

ADM: What's the concept behind "Noir Myths" - I see that it's labeled #1 - Does the series have a particular focus? and What does "cold and gray" mean to you?

EC: NOIR MYTHS is a quarterly photozine that would include visual stories of my life in Japan.

The first volume, Cold and Gray, features a set of film pictures taken on a snowy winter day in Tokyo in 2018. In contrast, I chose to publish this photo story in the summertime because on the same year, I met the love of my life who turned coldness and grayness into the opposite. A short intro can be found on the photozine’s prologue.

I sense that the next volumes of NOIR MYTHS will evolve and evolve. I am not tying this series to just film photographs - although being shot in film is one of the reasons why I wanted to publish in tangible form. I rarely upload my film photographs, so having them compiled as a zine/book emphasizes their “analogue” nature: something which is quite hard to attain nowadays.

ADM: Throughout the zine you make really excellent use of textures to create atmosphere and feeling - from an outside perspective - what would you say inspired that approach?

EC: Thank you. A huge part of this approach was because of my workshop with D’Agata and Hura. During that workshop, I was asked to explain WHY I took such photos and I had to dig really deep into my emotions. So whenever I see shining asphalt or odd-shaped trees, for example, I take pictures of them because they make me feel something. I aim to translate those feelings through my photographs.

ADM: Zooming out a bit, what are your major influences both photographic and musical, for this project and your photography beyond Noir Myths?

Photography influences - I used to draw more inspiration from films back when I started photography. Alfred Hitchcock, Jim Jarmusch, Wong Kar Wai - are some of my all-time favorites.

EC: I “discovered” Japanese [are-bure-boke] style of photography much later on. Masahisa Fukase is probably my favorite Japanese photographer.

On the other hand, music is not the strongest influence in my photography. However, I appreciate the medium and would like to utilize it to magnify the emotions that one can get from “just looking” at photographs.

When using the element of sound, I prefer instrumental only. The lack of lyrics gives attention to the imageries, which to me, is a visual symphony.

Moreover, when my friend skinxbones made the soundtrack for Cold and Gray, I let him create it solely based from the photos in the volume. I plan on collaborating with other musicians, regardless of their genre, for the next NOIR MYTHS volumes with the same “non-instructional” instructions so each time would be a fresh experience.

ADM: What's your assembly and construction process like for your zines and books?

EC: I sequence the images manually. I print very small pictures and then arrange-rearrange them to my liking. I learned a lot about making photo stories during my intensive workshop with Antoine D’Agata and Sohrab Hura in Angkor Photo. That was five years ago, but I always think about the lessons I learned there when I make photo projects now.

ADM: Do you always shoot with an overall project or book in mind?

EC: Ideas always come to me. Though sometimes, some (or probably most) of them are short-lived.

For NOIR MYTHS, though, I’d like to keep my options open. As much as I love repetition in photography, I wouldn’t like this series to appear monotonous all throughout.

Recently, I started posting diptychs of my daily home-work-home routine. I use digital for this, which is great for instantaneous output. It’s also good practice for the eye. I might turn this series into a photozine as well, but nothing yet is set in stone.

One thing is for sure, though. There will always be hints of self-portraits in my works because it’s how I can relate through photography and other people, too.

ADM: What photos or spreads within the zine do you think are most essential to understanding it - you talk briefly about tying in self portraiture and it's importance - can you expound on that as well?

EC: The entire layout of Cold and Gray is essential to appreciating it. I intentionally put two images oppositely adjacent to each other, so that the viewer can look at both images in both directions. Even the cover page (English in front, Japanese on the back) tells the viewer that the photo story can be “read” from left to right (like most Japanese publications). More importantly, the photozine should be viewed along with its special soundtrack - which I had made specifically for it.

Ironically, I didn’t include a self-portrait in Cold and Gray, though there’s a picture of my feet dug in snow - if this counts as a self-portrait. Remember that quote from Lost in Translation when Charlotte said that taking pictures of one’s feet is just every girl’s phase in photography? Guess I’m stuck in that phase forever.

ADM: The "evolution" of Noir Myths or a long term project is familiar, but always fascinating to me. Do you know what you'll do next with it, or have a more specific idea of the next form it will take in the series?

EC: N°2 should come out in late November. It will be very different from Cold and Gray, in the sense that the film pictures won’t come from a single roll. I am collaborating with another musician, whose music I’ve recently discovered. And as for the the visual content, here’s a hint: Nature devours.

ADM: Getting into the music question - how do you fit music together with your photography, or what's your process for creating intertextual experiences between music and photos?

EC: Might have already answered this - But here’s an old photo series (as a slideshow) with music specifically made for it.

ADM: What advice would you give to someone aiming to do a regular zine - ie on a schedule like you're aiming to do your Noir Myths series on?

EC: For any photography project that requires religious updates, the only thing that you can trust or blame is yourself. You move at your own pace. You lag at your own pauses.

With NOIR MYTHS, I plan to release a new volume every time the season here in Japan changes. I think this allows me to come up with the next one without hurrying so much.

I also think that even the rise and fall of temperature influences my motivation a lot. I find it hard to progress in the summertime, but when it's cooler, I suddenly become unstoppable.

ADM: From Kyle J. Kohner: Outside of other photographers and photobooks, where do you find inspiration for your own photography?

EC: Aside from films, which I mentioned in #9, I also draw inspiration from all the daily scenes I encounter, which is probably why I like repetition in photography.

For instance, I pass by the same train stations to and from work, and to me, looking closer at the usual, ordinary things I see along the way allow me to see them differently.

I try to be inspired even if there's "nothing" to see. It's my own way of interpreting bits of my life here. A life less ordinary.

ADM: What question do you have for the next photographer? you can answer it yourself if you'd like.

EC: For the next photographer: If there is a single photo story that you can work on in your lifetime, what would that be and how would you create your images for it?

For me, I would love to work on a very intimate photo story of my family and I would like to do it for as long as I live. It sucks that we're all living in different places now and I only have a few portraits of my mom, dad, and siblings.

ADM: Thanks so much for doing the interview! Where can we see more of your work, and purchase a copy of NOIR MYTHS (both this issue and the upcoming one, when it becomes available)? Do you have any other parting words and advice?

EC: NOIR MYTHS is available through erincrxss.com and also on KungFu Camera, The Phooks, artbooksph, and soon on Unobtanium — to mention a few

Songs About Being Forgotten: Kyle J. Kohner

October 25, 2020 in interview

Songs About Being Forgotten: Kyle J. Kohner

Andrew D. McClees (ADM): For those not familiar with you or your work, can you introduce yourself, and give us a brief introduction to your work?

Kyle J. Kohner (KJK): My name is Kyle Kohner; I am a 24-year-old street photographer from the LA area (La Mirada, Calif), but was born and raised in San Bernardino, CA. I picked up photography in my sophomore year in college, was hooked, and with the help of a couple of my professors and photography friends, I never looked back. I mainly do film photography, black and white 35mm to be exact. However, if I am on assignment for work, I will shoot digital. During my final semester as an undergrad, I took a darkroom photography class, and from the course came the genesis of my first body of work, a zine I've titled "Songs About Being Forgotten."

ADM: We're talking about "Songs About Being Forgotten" - where did the concept come from, and can you speak on the title?

KJK: I like to think of "Songs About Being Forgotten" as a not-yet reckoning of fear. This project's title and concept was birthed from fear and uncertainty that I've always felt but could never gauge through words alone. A fear of finality, death, and not being remembered was especially palpable during my final year of college, where years of mental illness peaked. The initial form/draft, which was created during my last semester, was a reactionary pushback to this fear. Still, I'm trying to push back against this fear, and this zine is the vehicle. I call the photos within this project "songs," mainly because music and photography meet at this very magical intersection for me. Combining the two seemed like the perfect way for me to convey this fear of being "forgotten.

ADM: Are there particular aesthetic considerations that you took into account while creating the project - I know the whole thing is in black and white - but is there a particular purpose behind it, and the tonality you used - I know the collage nature of the book is a nod to Phil Elverum (below).

KJK: The reasoning for doing black and white was pretty straightforward—it helps convey the impermanence of decay and things forgotten. Many of the photos are high in contrast, which renders the ephemeral themes dark and drab. As you mentioned, I wanted to give off a collage nature to the book, akin to not just Elverum, but inner sleeves and liner notes of physical music in general. With the very first iteration of this zine, the class project, I did not know much about design or sequencing. In fact, I boringly constructed it out in a simple pattern: page with lyrics, then page with photo, page with lyrics, etc. After a year or so of looking at more photo books and zines, I was able to better understand the importance of sequencing and design, which now, this version of the book compels more in comparison to my first-ever copy.

ADM: Is there a particular narrative form you used for the zine? - I noticed throughout you used some repetition and photocollages - alongside consistent written excerpts.

KJK: I love the concept of an album cover, yet the pressure of picking an image to capture the music inside is daunting. As mentioned a bit earlier, photography and music have always had this fascinating intersect, and the photos inside, again, are these visual songs—album covers even. The book is square, slightly bigger than a CD, and smaller than an LP or EP. Inside, I paired the images with lyrics from songs that have at some point in my life devastated me as I struggle through the concepts of finality and the high likelihood that what I say or create now won't matter 70 years from now. The visual layout, in fact, was largely influenced by the visual work of singer-songwriter Phil Elverum, aka The Microphones, aka Mount Eerie. I love how Elverum designs and incorporates his photography with his music. If you check out his latest album (which is just one long song) on YouTube, you'll see that it's just Phil laying down photos he's taken over the years, one-by-one, to reflect his journey as a musical artist over the past two decades. But he's also thoughtful when designing the album art for his LP's and CD's, inside and out. With most of his projects, he sprawls handwritten lyrics across a collage of photos. His design for The Microphones 2001 album "The Glow Pt. 2" particularly sparked that of my collection of photographs. I'd love to explain the sequencing and narrative, but I'm also a believer that we can create our own stories from photos within a body of work, separate from the artist's intentions, by merely perceiving them. So I'd rather have viewers of the zine to figure it out for themselves.

ADM: From that - what would you say the most essential images are to understanding the project are - what songs did you pair them with, and why?

KJK: This one is hard to answer as I tried not to pin the weight of this project on one photo because I try not to shoot with a mindset of capturing the best singular image or that "decisive moment." But if any, I believe the images of charred buildings speak to me and the project the loudest. These two photos were the genesis behind this project, and I was able to pair it with a song that I felt best captured to the idea of "being forgotten." The track that particularly called out to me—and I hesitate to mention it—was "Carissa" by Sun Kil Moon (Mark Kozelek). On the track, he sings of his second cousin Carissa who died in an improbable housefire. She was a regular blue-collar individual living in the midwest, and Mark barely knew her. And yet, despite how menial her life seemingly was, he wanted to impress meaning upon her life, long passed her death, with this song. I find this most beautiful and admirable. After including this song in my book (paired with these two photos), it came to light that Kozelek is a fucking creep and an abuser. I almost expunged the track from my zine, but then the final product would have been unauthentic and merely reactionary to what had happened. Though I have since removed his music from my life, I cannot deny the impact this song had on me. I would probably point to the image of shoes hanging from the telephone wire as my favorite. It's a bit cliche, but I love how the shoes are still emphasized even when crowded by the bushy textures beneath.

ADM: What do you think the biggest advancements you made were over the course of the project? in terms of sequencing, and also shooting?

KJK: As someone who studied journalism in college, I once held to this idea that I MUST be clear as possible for the sake of my audience. Heck, this level of transparency is and should be applied for a lot of photojournalistic work because vagueness is a sign of an untrustworthy author. But with this project, especially regarding the sequencing, I had to reorient my learned approach to create something more personal and trusting of my audience, instead. I've always feared being misunderstood and not being clear, yet the way I've sequenced and even shot the photos for this zine was a way for me to give that fear up. So I'd say the most significant advancement I experienced through this project was the willingness to trust my audience and trust that the photos would convey more words than I could.

ADM: What was your collaborative process like? Prior to the interview you'd mentioned working with Max Heilman and Brooks Ginnan.

KJK: This project is much more than the zine itself. In fact, I paired it with a split single—two original songs. One track titled "Stream Of Silhouettes" is a super atmospheric piece of post-rock, written and performed by Maxwell Heilman and his band Anhelar. The other is a raw, emotively lo-fi cut titled "The Devil Inside of Me," written and performed by Brooks Ginnan. Aside from being a musician, Brooks also happens to be an up-and-coming model featured in films, music videos, and even in Vogue Italia. Though the songs are two entirely different worlds—one brooding, layered, and room-filling and the other stripped-down, haunting, and intimate—they share the same desperate spirit that yearns through affliction. I've known both Brooks and Max for six years. Because I've stayed connected with them longer than any other friends, they are sort of this antithesis to the idea of being forgotten. They represent laughter, love, and long-lasting memories—things that push back against the danger of being forgotten. Because of this friendship, I had to include them within this project. To best capture the zine's essence, I sent PDF copies to the two of them, and they provided me music they felt best reflected what they viewed. "Songs About Being Forgotten" is the fruit of this collaboration.

ADM: Was there a specific turning point that pushed you to print the zine up and put it out there, publicly?

I think like many people who have created and released some artwork lately, the pandemic really pushed me to buckle down and say hey," let's get this done finally." If there ever was a time to release something into the world, now was the time. It was an opportunity to take what has been a disadvantageous moment in history for everyone, make something beautiful out of it, and collaborate with other brilliant minds. No, I wouldn't call this my "COVID Zine/book," as this photo project has been in the making for almost two years. However, I'm sure we will be seeing a saturation of COVID-related projects from photographers within the next year, haha.

ADM: You've talked about musical influences (though feel free to add more if you'd like) but are there any other visual or photographic influences on the zine?

KJK: Studying journalism in college, I took a few photojournalism courses. The professor who taught all of them wanted us, students, to learn from the greats, sequentially. I loved this approach because it allowed our photographically naive eyes to appreciate the trailblazers of street photography. That said, one of my earliest inspirations was Elliot Erwitt. People point to him and notice the humor and irony in his work (which I always try to draw from), but he inspires me because his pictures are emotion(s) rather than reflective of emotion(s). (Which in fact, he is quoted saying, "I want pictures that are emotion.") I picked the photos I did for this zine for the same reason—I wanted to curate images that are what they feel like. I can also pinpoint three current favorites of mine—some more known than others. As of recent, Charalampos Kydonakis, aka Dirty Harry, is the first that comes to mind. His photos literally jump at you with an uncanny energy. He has an unparalleled ability to capture the oddities of life in all of its mundanity, so beautifully. His work is so surreal and is so incredibly impressive because of it. The second photographer is Dylan Hausthor. Though his photos are clearly tethered to a specific place that my own photography is not familiar with, his work has a spiritual and mythical quality that I aspire to channel with my own (though my attempts do not hold a flame to the magic Dylan captures). His use of light is also unlike anything I've seen from another photographer, especially when illuminating the organic textures a place [like] Maine lends itself to. There are many more photographers and their work I enjoy right now, and I'd love to mention them all.

ADM: What advice do you have for someone taking a pre-existing project (like the one you made in class) and refining it or repurposing it like you did (ie turning it into a collaboration, and a multimedia project)?

KJK: My advice to someone who wants to take a pre-existing project and refining it/repurposing it, is to simply be honest with yourself. I think one of the most horrible yet beautiful things about creating art is looking back at the things you DID. Almost always, for me at least, I writhe in disgust over photos I took even as early as three months ago. But being able to look at your older material and critique it with honesty will allow you to tap into what you truly want to create. For this project, I carried over about half the material from the very first version because I hated everything else in it—though I thought it was the best damn thing when I first put the zine together, haha. But my advice is best served as a double-edged sword. I think that though one needs to be honest with themself, they also need to trust their work and build up the courage to publish that zine, book, series of prints, or whatever they are working on. There comes a point where if you keep waiting, you'll never be satisfied with what you create. Thankfully, I just missed that exit and was able to just say, "Fuck it." For me, that point came with the desire to bring in people I love and cherish into the fold to make it a gratifying experience.

ADM: From Stefan Byrom: Which photographers/artists out there do you admire other than the more well known ones?

KJK: I want to mention Justin Yun. Though he happens to be one of my best friends, I, along with many others in the photo community, would agree he possesses a rare talent for his age. Unfortunately, he tends to keep to himself and remains reserved when putting his work out there. There are countless photographers out there who try to explore the concept of dreams and memories. But no one is as in-touch with these ideas and how to artfully reflect them than Justin. The way he can tap into these dreams and memories has helped inform my ability to go into my own subconscious to take photos that, again, "are emotion."

ADM: What question do you have for the next photographer? - you can answer it yourself if you'd like.

KJK: Outside of other photographers and photobooks, where do you find inspiration for your own photography?

ADM: Thanks again for doing the interview! Any parting words or advice? Where can we pick up a copy of the zine?

KJK: Bring your camera with you at ALL times. If you don't like carrying one around, get a point-and-shoot for casual outings and errands. Support your photography friends. Love one another as yourself; you'll be a lot happier than you could be, I promise. Always be fighting injustice in the world. No matter how small or big the gesture—it adds up—not toward points, but a better world around for those who are disadvantaged. Listen to new music—always. The world needs escaping sometimes, and music is the perfect way to flee.

If you find yourself interested, you can purchase my zine at kylekohner.com/shop and can check out more of my work there as well.

Northern Class: Stefan Byrom

October 03, 2020 in interview

Andrew D. McClees (ADM): Hi Stefan, Could you please introduce yourself and describe your work to the audience, in case they're not familiar?

Stefan Byrom (SB): My name’s Stefan Byrom currently living in Rochdale Greater Manchester. i would say my work is an honest documentation of life in northern working class Britain as it is today, but also has those hints of nostalgia thrown in there.

ADM: We're talking about "Northern Class" - for those who aren't familiar with that world (ie for the Americans like me) can you speak a bit more about Northern England, and the working class there - or what compelled you to pick up a camera and document it?

SB: the actual term working class refers to people who are engaged in waged or salaried labour but more specifically manual labour jobs and industrial work. The north of England at one time was a power house for manufacturing goods so we had a lot of mill towns and mining towns, which over the years has died out really. Work for a lot of people has become a lot harder to find but also the price of living has gone up to a point where a lot of families struggle to get by. So to me the term working class and the meaning of it has changed, i feel it's a lot more about the struggle of living and the characters that make up life in the north. i grew up on a council estate in a working-class town in broken Britain so i’ve also lived it. Alot of people do what they have to to survive and to me that’s so interesting, watching how people adapt to and deal with poverty and austerity.

ADM: The zine really covers a lot of ground - what images from it do you think are the most critical to understanding Northern England's working class, and why?

SB:I think the cover photo for a start and the washing hanging from the apartment window says a lot about the struggle of working class life but then you have this make do approach to life like with the bin being secured with tape to keep the rubbish in. most of the bin men /waste removal men won’t take your bin if its overflowing but that’s a common problem because rubbish isn’t collected regularly anymore, so it obviously builds up which sort of ties in with the mattresses and things like that, people can’t pay to get them removed etc so they are usually just discarded in an alleyway or on some wasteland in the hope the council will remove it .then you have the photo with he shopping in the pram for instance they are all ways of getting by without a lot of money and just doing what you have to do to survive.

ADM: What was your working process like? How did you shoot the zine, and what was your final selection and assembly process like?

SB: I wouldn’t say i intentionally went out with the idea of creating a zine, i'm constantly out taking photographs and a lot of the time they just end up in the archive or getting lost in the instagram feed, but i had bit of a period where i wasn’t feeling life mentally and instead of sulking i ended up putting the zine together aha. I'd like to create a proper version of it someday maybe in book form.

ADM: I definitely get that. What would you add to the zine to make it into a book - would you do anything different or investigate or document something you hadn't previously?

SB: I think if I was going to eventually make it into a book I would have to be a lot more intimate and get a bit deeper into people's lives, so making a lot more personal connections would be a good place to start with that.

ADM: When you're out shooting is there a particular method you employ? or do you sort of always have a camera on you and constantly document?

SB: I usually always start my day the same, I wake up and put music on, I think that’s always a good way to set your day off mood wise. i always visit my local shop in the morning and get a drink too. After that it really depends on my mood or what I'm feeling or maybe I’ll have a certain place in mind and i'll just make my way to that. I go with the flow quite a lot while i’m out and I carry my camera absolutely everywhere so i have no excuses aha.

ADM: There are quite a few portraits in Northern Class - what was your approach to getting your subjects to have their picture taken?

SB: To be honest, I don’t have that much of an approach, I think just being out all the time and them being familiar with me has sparked their interest. I’d say 90 percent of the people in the portraits asked me for their photo to be taken ,usually they will ask me what i'm doing and i’ll say something like i'm working on a book about my town or the north, and that then they are like get a picture of me or something similar aha.

ADM: did you have any major influences for Northern Class, photographic or otherwise? And would you mind sharing why or how they influenced your work?

SB: Northern Class is a collection of my ongoing work so i wouldn’t say anyone really influenced me to make it but as for my work in general i'm influenced by Eggelston, Shirley Baker, Harry Gruyaert, Dougie Wallace, John Bulmer, and more recently Evelyn Hofer. The tones/colour and the way they compose their work has to be admired - if you get composition right you can make some really powerful works - I'm always looking at them for inspiration. My work itself is inspired by my life and how i grew up and the things i've seen, using what you know well is so powerful.

ADM: Looking forward, is your focus more on expanding this project, or will you move on to a new project? If so, what's next?

SB: yeah i think moving forward it will be about building on what i have and refining it and just seeing where that takes me really and what other doors will open; I guess we'll just have to wait and see aha.

ADM: What advice would you give to someone attempting to document their community, like you have in Northern Class?

SB: The best advice I could give is always have your camera on you because some of the best stuff happens when you aren’t actively looking for it, but also be observant like understand what makes your community your community and then tell that story. The more you are in that area and the more hours you put in the better chance you have of doing that.

ADM: from Adali Schell: “What drives you to take photos, rather than making films or writing or expressing yourself in another way?”

SB: This is such a hard question because i think it's all sorts of things aha, in a way i'm challenging myself but i'm also trying to show the world that there’s a lot to be admired about from where your from, no matter how gritty or bad you feel the place is, it's like making positives from negatives and for me photography is one of the best ways of showing that other than film, i guess with photography though you really have time to take in an image and i think that can be a lot more powerful.

ADM: What question do you have for the next photographer? You can answer it yourself if you'd like to.

SB: Which photographers/artists out there do you admire other than the more well known ones?

ADM: Thanks so much for the interview - do you have any parting words or advice?

SB: Thank you too it was a pleasure… up the dale! and wu-tang forever!!!

You, Me, We, Them: Adali Schell

August 02, 2020 in interview

You, Me, We, Them: Adali Schell

Andrew D. McClees (ADM): For those who aren't familiar, could you introduce yourself and your work?

Adali Schell (AS): Hi, my name is Adali Schell, I'm 19 years old and a street photographer from LA and I'm developing my first self published book/zine. I've been shooting LA's streets since I was 14, so this is something like six years in the making. I've been drawn to the streets since I was little - to get to my elementary school my mom would take Hollywood Boulevard, and even then I remember peering out the window, fascinated by LA's unique street culture and life. As I grew, I became aware of LA's superficiality driven by Hollywood, social media and our collective quench for fame, wealth, and materialistic longings, yet, as an Angeleno, I knew of an authenticity to LA that has never been shown to the rest of the world.

I started shooting after seeing Finding Vivian Maier, a documentary on the 20th century NYC/Chicago street photographer. Through this film, I discovered the world of street photography which prompted an awakening within myself as to how I can translate my frustrations around LA's misrepresentation into a meaningful and creative exercise. I picked up a camera and never turned back I suppose. Moving on from digital to analog film, studying photographers like Joel Meyerowitz, Garry Winogrand, Richard Sandler, Lee Friedlander and even younger, active photographers like Daniel Arnold, Todd Gross, Joey Prince, John Harding, Colleen Combs, Ben Molina, Aaron Berger, Geoff Haggray, Julian Master, Troy Holden, Jonathan Walker, Todd Fisher... I'll stop here to be polite. This list goes on for years.

ADM: On it's face your upcoming zine is a compilation of your work from 2017 to now - is there a particular theme that unites the photos you chose, and what was your experience like, selecting photos retrospectively?

AS: I like to rely on my subconscious. While shooting, I try to rid myself of my conscious mind to let my innermost mind speak - I don't second guess the impulse to shoot, if I feel it, I snap it. I don't spend any time thinking about the shot, I try to capture it as closely to how I saw it. I've learned that I am just as much an instrument as the camera is. Everything I've ever shot first came through my eyes and brain, then to my camera. I am the filter to this otherwise disorienting and upsetting world. Not to pride myself too much. And of course, I went into this with a general idea of what I hoped to create - something reminiscent of Daniel Arnold craziness, with Friedlander-like composition, Winogrand-like impulse, Meyerowitz-like romanticism, and Maier-like mystery. But what I believe distinguished my work from another street photographers work is that my work is based in LA - an undershot and misrepresented city, with it's masses and unique culture left in the shadows as fabricated Marvel movies and sexy action explosion movies are filmed and projected onto the eyes of the world. No disrespect to Hollywood, but I have realized that there is an undeniable vacuum left here - story's to be told, characters to be written and talked about, experiences to be empathized with, laughed with (or maybe even at,) and neighborhoods, people, and moments to be remembered - proof of a relatively short, bleak and irrelevant existence, proof to be remembered, thought of, and loved. In many ways, my photography is largely an existential outlet, an exercise to cope with my existence, in an abstraction and as a physical being. A constant collaboration with my environment - constantly judging, critiquing, hating, and loving. My admiration stems from this spectrum of emotions.

And I realize that once I'd be hundreds and hundreds of rolls into shooting for this project, this would soon be a reflection of my subconscious state more so than my conscious state, as I found myself fighting to reflect what I created in my head, as I'd be constantly disappointed that one can never perfectly articulate what is on their mind - in words or through photos, drawings, music, etc., whereas letting my subconscious go was far from being a strenuous task. And in this incoherent three year long subconscious ramble, pushing aside any expectation or desire, I found that I would create some sort of thematic unity, as a pure flow of inner thought made tangible through something like 64,000 35mm frames could yield some sort of consistency. Or so I hope.

Selecting the photos has been tough. I've been looking at this zine a few times a week, but it takes time to understand which photos should be paired together and which should be shown alone. Especially because these are living, breathing documents I'm working with. What they mean now in 2020 will be entirely different than what they mean in 2050. These photographs reflect a one of one description of a time and place. In the moment, especially with our innate numbness to instant digital cameras like our phones, we often forget this. Only upon reflection do we realize this, as you and me probably have, going through our parents photographs of them in highschool, college, early lives - a relatively shitty photo of a woman then may reflect a lost and nostalgic aesthetic of colors that we don't see anymore, of clothing, make up and hair styles that have been out of style for decades, etc. Who knows what will be interesting to look at decades from now. Because of this, I try to exist in 2050, thinking of what can be interesting now to someone from then. As I shoot, sometimes I pretend to be a person from 2050 who gets to spend one day in 2020. But yes, theme - I suppose everything that makes LA, LA - materialism, poverty vs affluence, desperation, politics, love; to be and to love, struggle, absurdity, chaos, energy, mundane beauty, irony, humour, etc. If I can check half of these boxes I think I'll feel good about this work.

ADM: Where does the name "you, me, we, them" come from? Is there a particular image, or set of images in the zine that explain the title?

AS: "You, me, we, them" comes from how I feel about being an entity. Kind of what I said in my last answer. I struggle with existing. I'm constantly fidgeting, anxious, thinking about the next moment or the moment before, what I don't have in the moment. Also being a physical being who can affect someone else is weird to me. And photography has been some sort of escape of the physical realm to me. I can kind of dissolve. Capturing fleeting moments, rarely being noticed. In a thick crowd just one of thousands, what do I matter? So this title is kind of an analysis of that idea, my relationship with others, and myself, mentally and physically.

I've actually had a hard time trying to think of one image that encapsulates this idea. I don't think that I've made it yet. A lot of them are close, but not quite there. Mostly because of how I've divided this work up by location - oh yeah, I forgot to mention that the zine is in like four chapters; Hollywood, Downtown, Santa Monica, and miscellaneous - because LA is so sprawled out, I've shot designated locations with high people density to kind of carry over what I learned from NYC photographers and apply it to LA. But it's really different out here and needs to be shot in it's own way which is what I'm realizing right now. That will require more space and desolation, and an isolation of subject matter. Less chaos. I can pick photos that describe my feelings about one specific location, but not about all of LA. But I hope that the collection of all of these photographs, in the sequence that they'll be in can spell that out.

ADM: That's definitely a broad statement of being - what's next or what's the next project after you wrap up the finalized book? Or will you continue to shoot and collect another collection, without direct regard for a project?

AS: I'm not too sure honestly. My LA street work has consumed so many years and I was just forced to wrap it up given the coronavirus situation. I think it would feel wrong to keep the project going since we are completely rethinking our social and commuting habits. This is a moment of great change and the street won’t look as it did for a very long time. Not to say I’m done taking street photographs, but I think I will be wrapping up this particular street project. I’m intending to publish this zine now, and in maybe twenty years I'll try and publish this work in a serious book, that way I can give these photographs the gift of time to evolve and mature into whatever context that 20 years could create.

Since covid broke out, I started working on a new project that looks at LA's urban color palette and geometry. I started riding my bike everyday since traffic has died down, and I've been lugging around my heavy 6x7 camera in my backpack which seriously sucks so I hope that I've been producing some strong images. It's kind of this blend of street and landscape photography. I've never felt connected to landscape photography because I've never felt familiar with nature, but what I've realized is that all photographs describe concretely are lines, shapes, and colors, and any deeper meaning about emotion or whatever is an interpretation which is subjective. But the geometry is what it is, and indisputable. So I've studied some landscape photographers like Shore and Sternfeld, and have gotten drawn in by their composition and occasional ironies. Like the one sternfeld shot of Mount Rushmore with the tangled rack holding satellite dishes in the foreground. That rules. And the firemen walking through a pumpkin patch with a blazing fire in the distance. And Shore's shot of the tiny church in the middle of nowhere. I couldn't believe these photographs when I first saw them because they convey the same feelings I get from Meyerowitz and Winogrand photographs. But they're taken on 8x10 field cameras and fit the category of landscape photos. I've also drawn from classical paintings. There's this one section at the Getty museum that is dedicated to relatively realistic Venetian landscape paintings that are huge and full of crazy detail. I'm into those colors and compositions and infinite depth of field. And what I'm doing draws from those ironies and geometric configurations. Beyond actual subject matter, I'm looking through what I'm shooting and seeing lines and light. I hope it becomes something.

And on my 35mm camera, I've tried shooting a couple of things for fun, nothing as serious as the street work I've worked on for so many years. I've been shooting off my bike, probably with my handle bars in the foreground of whatever catches my eye. I haven't seen any of these images yet so I don't know if it's coherent or anything. Admittedly, I have sometimes been seeing a very small group of friends in these past five months, and I hope that those photographs maybe can radiate a feeling of heightened angst amidst the pandemic, a naivety to thinking we're less at risk or maybe even invincible, teens who are either bored, horny or depressed, yearning for activity, attention, a reason to get out of bed. We're existing in unchartered waters. I don't really know what I'm doing either. I've just turned 19 and am a part of the class of 2020. And taking photos has been a remedy to life's absurdity and my struggles because of. I think I'm OK at it. And this has all been very challenging for me as it has been for all of us. Yet in spite of my mental haze and desperation, I hope my photographs carry a theme and coherency.

ADM: What was your shooting process like? and did it change over the three and a half years you compiled this body of work over?

AS: The shooting process started with a digital camera that I actually bought with my bar mitzvah money at age 13 ; I used that for something like 4 years, until my dad showed me his old Nikon Nikkormat SLR with a 24mm prime (what I still use today.) Then I took a Darkroom Photography course at SVA in NYC one summer and was properly introduced to film. So I shot exclusively black and white for a while, doing my own developing and printing, not scanning anything, keeping it entirely analog. Then I eventually became curious to explore color and started to digitize my work. That was the summer of 2018 when I felt like I developed the foundational skill that is necessary. Since then I've done something like 1800 rolls probably, all in LA. That's like 64,800 photographs, and I'm selecting only 80 or 100, which at most is only like 0.0015 of the photographs I've made since shooting film. God only knows how many digital photos came before and also during then.

ADM: You speak quite a bit about documenting Los Angeles - how did you get there (are you a native angeleno?), and what inspires you to document the city? What have you discovered in your photos?

AS: Yeah, I'm from LA. Born and raised! I've always been frustrated over LA's misrepresentation which also inspired me to do something about it. The superficiality that this city is advertised to be is not really what it is. I've only known of an authentic LA. I grew up in Los Feliz which is wedged in between Thai Town and Little Armenia in the East Hollywood area. When I was 14, I realized that the camera could be used as a weapon against that, to describe how authentic and beautiful this city really is when you don't buy into the Hollywood and Kardashian crap. I also wanted to show the world, or at least my Instagram followers what other Angelenos look like. Not just Tom Cruise and Kim K., but those of us who keep this city running. The jewelry store worker in Downtown. The tourists in Hollywood. The street performers on the Pier. These people have never had a spotlight and I have tried to give them one in a sense.

ADM: You mention a broad gathering of influences - is there something, a thread, that unites them, and how do you relate to your influences?

AS: I think that my influences are united by character. If they're distinct and also funny or ironic. Winogrand, Meyerowitz, Levitt, Sternfeld, Friedlander, Cohen, these photographers took strong photographs that were also sometimes funny. There's often a tension that exists, either in composure, or color, or emotion. And in paintings, I see lines and colors as I do in photographs. So to me they're basically the same thing, except that to make a photograph you are deconstructing the world around you and in a painting you are constructing from the world around you.

ADM: Jumping on that - your work largely seems to fit into the Street Photography tradition - what is Street Photography to you, and more generally, what is Photography to you?

AS: Like Winogrand once said, I feel like the term "street photography" is pretty silly. It doesn't tell you anything about the picture or the work. But the values that are attached to street photography are mostly akin to that of photojournalism; truth, grit, transparency, humanity, empathy. I like those traits and look to recreate them. But I feel that street photography is less serious than photojournalism, so I also look for those humorous aspects. On a broader note, photography is a reason. A reason to live at the very least, a reason to go out, a reason to be in that area or to step through those doors into that room, a reason to be present, a reason to think about your placement in the world, a reason to think about where you stand in society and your relationship to your peers and neighbors. A reason to think of where we come from historically and a reason to feel obligated to be an informed citizen of the world. A reason to be empathetic to others, a reason to be concerned about politics and the state of the world and humanity. And in today's climate, I think that we all need to be politically engaged, for environmental reasons, for humanitarian reasons, for ethical reasons.

ADM: So, this is part curiosity of my own, but that's a ton of film to shoot, I know that shooting on film and digital don't really line up on an even ratio, but how do you shoot such a high volume? or what keeps you shooting at such a high volume?

AS: I have tried to shoot less but I can't. I think it'd be better to shoot less. Henry Wessel, a really amazing and renowned San Francisco photographer spent his lifetime shooting SF but he never "went out to take photos." Rather, he went about his day, driving and running errands, doing whatever he does and he carried his camera with him and created an incredible body of work. Whereas with me, I am always searching for photos. There isn't really a moment where it isn't at the front of my mind. I think that this causes me to shoot a lot but also causes me to kind of go insane, my practice is like a never ending search for something that doesn't actually exist, this search for meaning, for clarity. I think to put it into relative terms for someone who isn't a photographer, I feel like there is a word I'm trying to use that I can't remember, and it's on the tip of my tongue, forever. And at every opportunity trying to rephrase what I mean, I can't quite do it. It's this restlessness that keeps me going. Even with my favorite photographs that I've made, I feel like I've missed the mark by a tad, I think I only have like five photographs I've ever taken where I feel like I described exactly what I wanted to.

ADM: What's your key tip on shooting so much, and what key advice would you give to someone about throwing themselves deep into photography?

AS: I can only speak on behalf of my experiences, but what's kept me going is my own frustrations. Aside from photography, I've always had a hard time saying what I mean; with my parents and friends, also especially in past relationships that admittedly still live and rot in my conscious. I hate to say this but I am one to replay scenarios in my head over and over again, getting that last word in, or dwelling on the hypotheticals if something would’ve gone differently. The act of making photographs has been therapeutic in many ways and particularly with this - to spend so much time on one particular moment at a sliver of a second - shooting, developing, scanning, printing, reviewing, etc, it is comforting to become 100% familiar and comfortable with a moment that I lived in. I also had a few tough years from age 14 to 16 where I lived in the suburbs and completely shut down socially. There was like a three month window where I got back on my feet but I quickly stumbled again as I had completely lost myself and most of anything that I found desirable in my life. But while three years isn't very long generally, when you're 15 it is, and my photography is a blatant act where I'm trying to overcorrect for those years lost. Memories that I could've had, trouble I could’ve got in, photographs I could’ve made, friends I could've had, girls I could've loved, etc. I've tried to overwhelm my time now and these coming years. Third, I can't sit still, I need to be out seeing and breathing and living and feeling or I get really antsy and depressed, I think this is an effect of feeling like I've lost time. Lastly, for existential reasons, life is short and I want something to show, a proof of my own existence and of others existence in this otherwise short and bleak world. I, like most others, hope to leave something behind, and the idea of leaving behind a book or prints or some photographic documentation describing what this moment and people and environment and city looked and felt like is really enticing to me.

ADM: From David Gilbert Wright: If you could travel back in time, which photographer from history would you most like to interview for this magazine, and why?

AS: Tough question, probably Vivian Maier since there is practically no information on her!

ADM: What question do you have for the next photographer? you can answer it yourself if you'd like.

AS: What drives you to take photos, rather than making films or writing or expressing yourself in another way?

ADM: Where can we pick up copies of the zine and book? Also where can we see more of your work, and do you have any parting words or advice?

AS: You can reserve a copy for the zine by contacting me through Instagram @advli or through my email, adalischell@gmail.com. I might set up a thing on my site to buy one but I want to keep it personal, I like the idea of the person coming directly through me than through a website where they don't actually read my own words that I've personally typed out with my own thumbs specially for them. I also have two photographs being published in the book "To Live & Cry in LA" which is being produced by 35m Pro, a lab out in Sherman Oaks, with work consisting of 60-something LA photographers who documented the height of the BLM movement. That is currently being produced and should be made available to purchase sometime soonish.

Hi, If you’ve read this far - thanks for reading! Typically we’d stump for donations to the website to keep it up, but in light of the ongoing unrest in the states we’d encourage you to donate to a cause of your choosing instead. This whole thing is a link to a linktree.

Walker Evans’ American Photographs: the bullet points, for idiots, like me.

July 28, 2020 in Book Talks

Walker Evans’ American Photographs: the bullet points, for idiots, like me.

When I announced the ongoing series I’m running of book talks on photographers and their key books, I promised to write up at least a one page essay, or something to that effect on the photographer, and the book, much in the same vein of a “What I Learned Shooting.” Like that series this shouldn’t be taken too deeply - I’m no expert and these are essentially my personal cliff notes, because I need to actually write out and think out anything before discussing them. Feel free to drop a comment if you have corrections or counterpoints - or just email me.

So now that I’m done the preamble, I’ve broken down my essay/recap/notes into a few segments, starting with:

History:

American Photographs was the first solo exhibition of photography at the Museum of Modern Art. Evans was the primary curator of the exhibition, though he worked closely with Kirstein on finalizing his image selection in the exhibition, and later the book. This seems to have played a huge role in setting up the Museum as sort of the de-facto “Church” of photography in the US. Along with helping establish MOMA, the book was also an early lynchpin of the american photobook tradition, per Galassi. The book, and exhibition first ran in 1938.

Technical Notes:

Evans used an 8x10 view camera for the entire book. While this is not particularly impressive on it’s face - the book itself is not particularly large, so we can’t really appreciate the full size of the plates - even as contact prints - it is quite impressive in the first half the book where evans manages to capture quite a few candid moments with a strong degree of - a fact that Kirstein acknowledges in his essay that comes with the book.

Context of Book, Notes on Style and Construction:

Evans was noted for his commitment to documentary photography, and as one can readily see in the book itself the vast majority of the images were made from 1929-1936, across the Eastern US - Up and down the coast, and deep into the south. Newhall states that while Evans had a great eye for images, and created them consciously, many of the images were stronger in composition than the simplest possible document - though Evans frequently did employ very head on and straightforward compositions throughout much of the book.

The book is set into two halves - the first focusing largely on the American Populace, their local environments and scenes, and features which they surrounded themselves with. While many of the images are strict portraits of the scenes shot head on, when Evans steps out to document people, particularly in their environment, it tells a distinct story of people’s relationship with each other, and their place. Evans seems to have a particular fascination with advertising, both the ads themselves and how they’ve aged, as well as the placement of advertisements within those settings. Much of the best or most informative work in the first half are Evans’ environmental portraits - tying the scenes he documented to the people. This isn’t to say that his straight forward portraits are bad by any stretch, but that they don’t contain as much pure data or context as the environmental portraits. There are some vernacular landscapes in this first half, as well as interiors, but unlike the later landscapes, the factories, tenements and houses, these photos are very much portraits of place rather than comprehensive “landscapes.”

Newhall says of the second half that Evans was attempting to create “an Indigenous American Landscape.” Though, personally I’m a bit loath to say indigenous, as the book documents construction on the American, largely due to non-indigenous settlers. As previously mentioned these photos are more in the traditional landscape arena - and read much more as surveys of place or constructed photos. That said, the second half does reference the first half when the Evans documents many of the houses, and their architectural details - though I suppose these houses and their details make up the firmament of the towns and landscapes -

Many of the landscapes, and beyond contained in the second half of the book are of towns, and dwellings, and have more layered or complicated compositions than the first half - I believe this in part due the nature of landscape photography - unmoving, allowing the photographer to adjust and construct a frame based on their own needs - which Evans was not intrinsically against - though that approach did run contrary to much of his straight on mentality that he employs in the first half. I suppose landscapes which don’t move, and aren’t direct documents like many of the pure portraits, and there’s nobody to manipulate. The other half of this is that many of the landscapes and cityscapes that Evans photographed were themselves complicated, or more complicated than their surrounding environment. In the end, this tends to suggest Evans views a sort of odd entanglement between Americans and their environment - perhaps via the towns themselves or in some cases the job sites that overshadow the town and their environment.

Influences, Descendants, and Contemporaries:

Timothy H. O’Sullivan: O’Sullivan was a photographer during the Civil War, then went on to to document the west as a surveyor - I believe that, referencing the Beaumont Newhall quotation again, Evans takes influence perhaps indirectly throughout the second half of the book. Evans uses more contorted views of his landscapes where O’Sullivan’s are often very flat - and his images tend to give equal importance to everything in the frame - which makes sense given that he’s photographing essentially purely nature and natural topographies, which necessitate equal importance. That’s not to cut down the aesthetic importance of O’Sullivan’s Landscapes.

Robert Adams: Most likely the quickest “descendent” I could come up with - Adams’ work often dealt with similar entanglements between human suburban settlers and their topographies, and many of their compositions are really similar. Though Adams was much more the naturalist, where Evans focuses more on the human aspect.

Henri Cartier-Bresson: Largely a contemporary, though they did overlap in new york - they both focus on similar subjects though their approach or fundamental viewpoint is wildly different. I believe Newhall noted HCB as being distinctly whimsical or french, as opposed to Evans’ simpler more straightforward approach. Bresson did have some landscapes and urban scenes, but they don’t tend to get quite the focus Evans puts on his.

Dorothea Lange: Lange was a fellow FSA photographer, though she leaned more towards people - and her constructions are more graceful, and less forceful. If you’re reading that as a put down, you’re an idiot. I’m tired and haven’t gotten a good book of hers yet, but I’m going off what I can easily google, because she’s frequently checked as a contemporary of Evans’.

For those like me - the intellectually disinclined (dumb observations):

1. The book is much smaller than I’d imagined. It’s a bit disappointing, because many of the images would likely benefit from a bigger display size, especially in the back half

2. The images throughout the book are relatively high in contrast - not comically so, though.

Softer contrast seems to be a relatively recent movement in photography.
I wonder when it became a “thing?”

3. Evans isn’t completely committed to sharpness, I believe he was a part of the “straight photography movement, and was a hardened documentarian, but a few of the images throughout the book are a little soft, showing a bit of motion.

If you’ve read this far - thanks for reading, I hope you found it useful, or if not useful entertaining, or just got a good hate read out of it. If you liked it, consider grabbing a zine in the shop, or donating (via the donate button) to us so we can keep the website up. We also are on patreon.

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After Hours // Golden Daze : Gavin Thomas Spellman

July 19, 2020 in interview

After Hours // Golden Daze : Gavin Thomas Spellman

Andrew D. McClees (ADM): For those who aren't familiar, could you introduce yourself, and give us an overview of your work?

Gavin Thomas Spellman (GTS): Hi, my name is Gavin Spellman. I’m a film photographer from Bath, Maine. I got into film roughly 11 years ago. After a LONG hiatus I picked it back up again. My work is sort of all over the place. From portraits to landscapes, still lifes to vehicles, I just want to create something beautiful.

ADM: What was the impetus to make After Hours/Golden Daze - how did you reach the idea of making a "dual zine" ? Was the zine created with the or a specific concept in mind, or did you build it out of an extant photo pool?

GTS: I had been thinking of putting out a zine for a while. i had just got into night photography and thought that would be a good theme to roll with, therefore "After Hours" was born. in the process of choosing photos and laying it out i kept returning to my daytime/golden hour shots. i became conflicted and wanted to make a project of those as well. So one day it just sort of clicked, i could combine the two themes. Though very different, the narratives share similarities. The zine split down the middle with no back cover. the back of one is the front of the other (if that makes sense haha).

ADM: You mention narrative - could you flesh it out for us - as in, what the narrative is - implied or otherwise is for the zines; and how you put them together?

GTS: I set the narrative up as if the reader was sort of being taken on a walk. Both zines start at an apartment. As you turn the pages you're brought to different locations, places that aren't necessarily in proximity of each other in reality, but as far as the story goes they are a part of the short little journey. As you continue on, the story brings you back and ends at the apartment at which you started.

ADM: What were the influences for After Hours/Golden Daze - photographpic or otherwise?

GTS: I just really wanted to make something different, a zine that sort of stands out in a crowd. The "After Hours" side was highly influenced by Todd Hido’s work in his book "House Hunting", also influenced by a fellow film photographer, Walter Lodzinski (@risenbeforedawn) His night photography work really got me interested in shooting after dark. As far as the influence for "Golden Daze" goes, i have just always been drawn to the way light paints itself beautifully onto otherwise ordinary scenes.

ADM: How do you think working in the dark influenced your process or narrative?

GTS: shooting at night is definitely a learning curve and i haven't quite mastered it yet. for me it's a lot slower. i have my tripod, and my shutter cable. when metering you have to compensate your exposures with the reciprocity factor in mind. so theres a little bit more calculating that goes into it. so as far as influence to my process goes, i think it has sort of taught me to pay more attention to light and the absence of light.

ADM: What do you generally think about while out shooting, is there a particular thought or visual process you have?

GTS: It all depends on the situation really - if I'm just out and about, I'll shoot whatever catches my eye. If I make a plan to visit a certain location, I'll slow down and approach it with a much more methodical process.

ADM: Can you speak on that methodical process a bit more, or like what the methodology is?

GTS: When I set out to a spot with the intent to photograph it I'll usually focus a lot more on my composition. I'll take multiple meter readings, and bracket my shots if I really like a composition, just so I have a few different exposures to choose from. Mostly it all comes down to finding exactly what I want in frame.

ADM: What was the zine assembly process like for you? Was there a moment where the zine, or dual zine clicked together for you - like particular image or sequence?

GTS: I used Adobe Indesign to lay it out, which was confusing at first but once you get the hang of it you fly right through. The difficult part was design one half of the zine upside-down. I would place a spread, flip it horizontally, then vertically, take a photo of my screen with my phone, flip that to see how the spread would look upright - if I liked it, I would keep it - if not - I'd start again (it was a pain in the ass haha).

The photo that really birthed the project was the cover of "After Hours". That was the starting point for me. Once I realized what I wanted to do I took the same photo at golden hour for the cover of "Golden Daze". I had recently bought "Cape Light" by Joel Meyerowitz, and one sequence in his book shows the same image taken at different times of day. It really shows you the effect that light has on color, and your subjects in photos. That really spoke to me.

ADM: Stepping left - how would you say your environment shapes the narrative, and the compositions?

GTS: The neighborhood I live in has a lot of the same looking brick buildings. I tried to make the shots of these buildings different in their own way. Either by using light or composing in different ways. The surrounding towns are all coastal, so I added a bit of that as well.

ADM: What advice would you give to someone working on night photography, and attempting to build a narrative around it?

GTS: Just try it. You are most definitely going to waste some film and have shots not come out how you envisioned, but don’t get discouraged. Once get a better understanding of your exposures you’ll get the results you’re looking for.

ADM: From Kwasi Boyd Bouldin: How do you want people to remember your work?

GTS: Any way they would like. I don’t really feel I can make people remember my work in any certain way, but as long as at it sparks some sort of feeling to the viewer, I’m happy.

ADM: What's one question you have for the next photographer? You can answer it yourself if you'd like.

GTS: Where do you find inspiration to create

ADM: Where can people order a copy of the zine, and see more of your work - any parting words?

GTS: My zine can be found at gavinspellmanphoto.bigcartel.com and my work can be found on Instagram: @gavin_thomas_spellman

I would just like to thank you for the opportunity to share my work and words. Thank you!

Hi, if you've read this far, thanks for reading! Typically we stump for donations here but in light of the ongoing protests we'd encourage you to donate to them instead. This whole text block is a link to a helpful linktree.

The Public Work: Kwasi Boyd-Bouldin

June 28, 2020 in interview

The Public Work: Kwasi Boyd-Bouldin

Andrew D. McClees (ADM): Hi Kwasi, thanks for doing the interview! For those who may not be familiar with you or your work, could you introduce yourself, and give us an overview?

Kwasi Boyd-Bouldin (KBB): My name is Kwasi Boyd-Bouldin and I’m a photographer from Los Angeles. I primarily shoot documentary landscape and street photography with an emphasis on underrepresented neighborhoods. I was born in Brooklyn, New York but have lived in L.A. since I was 2 years old, I grew up moving between Hollywood, East Hollywood, and Mid City, those are also the neighborhoods I tend to photograph most.

ADM: You're launching a site called "The Public Work" and leading with an essay/body of work with Erwin Recinos called "Neighborhood Quarantine." In which you're shooting the color/digital images, while Erwin shoots the BnW images on film. What was the impetus to start the website and how did the new collaborative body of work start?

KBB: I started The Public Work at the beginning of the year as a home for my street photography essays. It was inspired by the role I think that photography can play in documenting life from street level. Once the pandemic hit the city I began to use it as a platform to share what it was like in some of the neighborhoods that didn’t make the news.

Erwin is one of my oldest friends and I’ve collaborated with him on several projects over the past decade such as our old photography collective Snapshot Galleria (with Luis Torres) and multiple zine collaborations. I reached out to him for the Neighborhood Quarantine essay because I saw the work that he was making and thought that it would work well with some of mine.

ADM: When you're working collaboratively, do you notice your workflow change, or at the very least what you're drawn to shoot, in relation to the other contributor's work?

KBB: My workflow doesn’t really change. Unless I’m on a professional assignment, I shoot the same things wherever I go. The great thing about working with Erwin (and others I have collaborated with in the past) is that our work just fits. We often just settle on a theme and interpret it on our own. It involves a lot of trust but the results speak for themselves.

ADM: Stepping back, more generally, what's your working practice like - you seem to split your chops between topographics work and traditional street photography - what gets you out to shoot, and what are you looking for when you're out on the street shooting?

KBB: The goal of my photography has always been to accurately portray life in the city as I see it. When I first started out, I focused exclusively on urban landscape but in the past few years I’ve incorporated traditional street photography into my work. I find that the combination of the two styles allows me to document neighborhoods with more clarity. I’m attracted to scenes and moments that often go unnoticed during the course of our daily lives.

ADM: Was there a particular moment or project that prompted the step into more traditional street photography - you mention that blending both styles gives you a better insight into the neighborhoods you document?

KBB: In 2018 I was accepted into and attended the New York Times portfolio review. The day after the review, I had a day to explore the city on my own and I decided to experiment a bit with street photography. That was really when the seed was planted and I saw the potential in combining it more purposefully with my landscape work. I had experimented with "traditional" street photography for years prior to this but I never made the effort to integrate that approach with my professional body of work. Something just clicked that week in New York and I've been moving forward ever since.

ADM: (If you'll allow me to pivot a bit) in the last couple of weeks I've noticed you've put up a couple more essays, and (on instagram as well) have added the new essay "Hindsight (2020)" about the turmoil 2020 has brought so far - and how Los Angeles (and Angelenos) have resiliently responded. What do you think are the key images to understanding Hindsight, and why those images?

KBB: The Hindsight essay is the result of me just realizing how insane this year had been in L.A. It has really been difficult to process it all so I tried to present it plainly for the viewer. It starts out in the beginning of the year when, like many of us, I was filled with optimism about 2020. The Kobe Bryant tragedy hit Los Angeles really hard and personally, that was tough. I wanted to show a bit of how the city came together to celebrate his life, not just through official means but also on the street. The quarantine and BLM protest movement have continued to reshape life in the city. The main goal of the essay was to show a bit of what all of these events were like here.

ADM: Typically when you're creating your own personal projects is there something that inspires you to create them or put them together - in your intro you mention underrepresented neighborhoods, but is there any other particular draw or inspiration that runs through your work? Also do you find yourself going out and creating projects from the outset, or assembling them once you start to see common threads in your pool of photos?

KBB: Exploring neighborhoods is the core motivation for my photographic work. The focus on underrepresented neighborhoods is because I grew up in several of them. The places I explored in my childhood were never properly shown or woven into the popular narrative about Los Angeles. This disconnect is what inspired me to photograph them in the first place. I'm drawn to photographing details that are both inconspicuous and indicative of the space. Ideas for projects often occur to me when I am out shooting or after I'm done. The only really planning I do at the outset is deciding location, everything else just flows as I take pictures. I also constantly go over my archives. Time is one of the most important aspects of photography and pictures often gain relevance with it's passage.

ADM: You mention a predilection for "photographing details that are both inconspicuous and indicative of the space." Could you give some examples - either as photos or like a description of what those details might be?

KBB: What I mean by that is I try not to be flashy in selecting subject matter to photograph. I find that the elements that most consider ordinary are often what makes a place unique. So whether it's a building or a bus bench, I think that a lot can be learned by documenting them in the context of the surrounding neighborhood.

ADM: Have there been any neighborhoods that really surprised you? Or like you decided to go shoot them, but when you look back at the photos you got, it was much different in feel or appearance than that neighborhood looked initially or in passing?

KBB: The neighborhoods that have surprised me the most so far are outside of California. They were completely new experiences so I was really outside of my comfort zone and I enjoyed it. The first place that comes to mind is New Orleans. I got a chance to explore a lot of the city on foot a few years ago and every area I visited was incredibly interesting. I really didn't have any knowledge of what it felt like to be in a place as old as that city is. I saw a side of life in this country that I had not seen before.

ADM: Looking forward a bit - what projects are you working on right now? Will you follow up (or continue) Hindsight (2020) to the close of the year?

KBB: I'm currently working on a few projects for clients that I can't quite discuss in detail but I'm looking forward to sharing them in the near future. My focus continues to be on building my portfolio and expanding The Public Work project. I honestly wander a lot creatively but I always find inspiration out in the streets I photograph.

ADM: What advice would you have for someone looking to go explore a new neighborhood, or photograph a new area - underrepresented or not, but doesn't know a lot about documenting an actual neighborhood?

KBB: The most important thing is to stay focused and respect the space.

ADM: From Bryan Mederos: Why is Photography so easy but yet so hard?

KBB: The act of taking a picture is deceptively simple. Learning what gives an image meaning is the difficult part.

ADM: What question do you have for the next photographer? - you can answer it yourself if you'd like.

KBB: How do you want people to remember your work?

ADM: Where can we see more of, and/or potentially purchase your work - do you have any other parting words or other advice?

KBB: I have a few projects coming up in the near future that I can't talk about yet so the best place to see my work is my website or Instagram. The only advice I really have for anyone trying to be a photographer is not to forget why you started taking pictures in the first place.

If you’ve made it this far, thanks for reading the interview! We appreciate your readership -normally this is where we’d stump for donations, but in light of the ongoing protests, we’d like to encourage you to donate your funds to a fund aiding them instead. This whole text block is a link.

Thanks!

The Management.

GATOS: Bryan Mederos

June 14, 2020 in interview

GATOS: Bryan Mederos

Andrew D. McClees (ADM): Hi Bryan, thanks for doing the interview! For those not familiar with you, or your work would you mind introducing yourself and giving an overview of your work, photographic and otherwise?

Bryan Mederos (BM): My journey as a photographer started a few years ago when I bought a DSLR camera to make youtube videos. In order to learn the exposure triangle, I started taking the camera everywhere and taking photos with a giant tele zoom lens and a crop sensor. All the photos were super cropped in. I also learned about Lightroom and Photoshop during that time. They were the worst photos ever. These days I primarily shoot 35mm film but I use my phone too.

ADM: We're here talking about your work documenting your job working behind the scenes (as a waiter?) at a hotel in Beverly Hills - do you have a title for the project? What inspired you to document this job/workplace?

BM: Yes the title for the project is called "GATOS," Gato literally translates to cat but it’s also a slang term used in Mexican culture that means “servant” or “goon.” I work in the in room dining department and my job title is "Order Taker". I take the food order from the guest, ring it in and hand it over to the server to prepare for delivery. The servers have a rotation so whenever a new order comes out they say "Next Gato"! Think of like “order up!” or “who's next!” I've been shooting photos of my co workers for years now and have amassed close to 1,000 photographs. The project is a love letter to the immigrant laborers of LA. The unsung heroes of the luxury hospitality industry.

ADM: I know this has been an extended project - are you still working on it? Have you found that your approach to documentation has changed over the duration of the project?

BM: I have all the material I need to compile a hardbound photo book. I'm not shooting as many photos as before but I still bring the camera out occasionally. Every "serious" photographic work I pursue is usually born out of being self aware enough to know that something special is going on around me. It may not be clear at the start but it eventually turns into to a deeper sense of awareness and appreciation for what's in front of me. In this case, its my job so I would argue that I've even changed my perspective towards my day job from a negative experience to a positive, productive one.

ADM: I know you're still working on final assembly of the project into book form, but was there any specific moment or image where the project really took shape or snapped into place for you?

BM: Not really a moment for when it took shape but I can sense that it’s done and I don’t necessarily need to take more photos. Intuition is what’s guided me through the whole process.

ADM: What images do you feel are integral to understanding both the job, and the people you work with, and why?

BM: That’s a great question. I’ve actually never thought about it till now. There’s a black and white photo of my co worker Laurencio (we call him LOLO) sitting at a computer with Forbes five star five diamond awards hanging above his head. I remember he was using that computer to search for a used car for his daughter. I feel like this frame does a good job of superimposing luxury and migrant workers.

ADM: Is there a thought process or criteria when you are/were documenting your job and coworkers, and making images - you talk about intuition, can you expound on that?

BM: I try my best to not shoot photos when there’s a bad vibe in the air. Usually because of some kind of conflict between the servers. They fight over tips and orders which can be hilarious but sometimes I really have to pull back cause they’re genuinely upset. I’ve noticed that I tend to bring out the camera when everyone is in a good mood. I do make some exceptions though.

ADM: is there a particular image or example, or even a story of when you took your camera out, or documented a time when not everyone was in a good mood?

BM: Yeah I've definitely misread situations and made people angry. Especially when using flash. I remember this one time I made my co-worker angry about something and days later in a staff meeting he brought up how I take pictures of them constantly and how I don't ask for permission and how it's rude. He was sour about something work related. I nearly got fired over it but was able to talk my way out of it. I told my boss that I always keep my camera on me and that most of the guys ask for their portraits. Which is true. But I could've been in big trouble.

ADM: In terms of influence, of influences, photographic or otherwise that shaped the project - if so, what and how did it/they play in?

BM: There’s this artist Ramiro Gomez who makes cardboard cut outs of immigrant workers and places them in front of houses in Beverly Hills. His work has been a huge inspiration for me. The idea of making the immigrant worker look like a hero is what attracts me to his work. I hope to convey that in this project somehow. Both of my parents immigrated here from Mexico and I feel like that has something to do with my obsession with telling that narrative through my work.

ADM: Looking a bit forward, how do you think, or now that the main body of work is done, how have you seen, your approach to photography, and life as well (you mention a different outlook on life earlier) has changed?

BM: Photography remains a mysterious process for me. I’d like to think I’ve gotten better at it but the truth is I just shoot randomly and hope a good one comes out. Knowing that the main body of work is done, I feel anxious to start a new project. But I’m definitely overthinking it. I haven’t even bound this book yet! I will say this, I feel much more connected to my co-workers. It’s fun to pull up old photos from 3 years ago and show them how much weight they’ve gained.

ADM: What advice would you give to someone else documenting their non-photographic worksite or a job?

BM: Start with a bit of show and tell. Bring your fancy camera and show it off to your co-workers. See how they react. I'm willing to bet that things will happen naturally and they'll be asking you to take their photos. Do this for a few days then you're known as the "photo" guy at work. For me, It's gotten to the point that when something funny or unusual is happening my co workers run to my office and say "hurry hurry bring the camera!" Over communicate that you have a passion for shooting photos and be respectful about it.

ADM: From Erwin Recinos: What is the most important aspect of photography that you have applied to your daily life?

BM: Anyone who has gone out into this world alone with a camera in their hands knows that there's this intimate presence of mind that happens. It can put you in a flow state and you become present in that very moment. You notice things you never noticed in your neighborhood before, you hear things you've never heard. It not only calms the mind, but it makes you feel more connected to the world around you. I try to carry this with me into other aspects of my life. This is by far the best thing about photography.

ADM: What question do you have for the next photographer? You can answer it yourself if you'd like.

BM: Why is Photography so easy but yet so hard?

ADM: Where can we find and purchase more of your work? Do you have an estimate on when your book will be available?

BM: If all goes well, I'm looking to release the book early next year. Feel free to hit me up on IG my handle is @bra_sann.

ADM: Any parting words or advice?

BM: I love to connect with people who are passionate about photography so please do reach out and say hi. My advice to any photographer is to never ever compare yourself to others. You should never wrap up your self worth in something as vain as likes on a Instagram post. Everyone's on their own path so don't judge yourself too hard. Realize that your work may never be seen or appreciated for many years to come. It may be that your work is never discovered at all so love the process over the results.

Hi, if you’ve read this far, thanks for reading! We hope you’ve enjoyed the article. Normally this is the part where we stump for donations, but we’d like to contribute to the ongoing protests and would urge you to donate via this link-tree instead (this whole block is a link).

Thanks - The Management.

David Gilbert Wright in conversation with Will Hopkins

June 07, 2020 in interview

David Gilbert Wright in conversation with Will Hopkins

I was first introduced to David Gilbert Wright’s work by Simon Tasker (@simonltasker), I believe. I quickly became enchanted by his portraits of life in the United Kingdom, and his Brick Lane series felt timely for the news of the day. Not only did he make technically good exposures, each of his photos captured some intangible humanity, and the projects come together to form a whole greater than the sum of their parts.

This is the first time David is sharing some of this work. Much like Simon Tasker’s newly-shared early work and the unprinted works of Garry Winogrand and Vivian Maier, there is something exciting about old photos that are also new. Of course, he is continuing to produce new work, and being able to view his early photos alongside contemporary projects adds even more dimension to the body as a whole.

I hope you enjoy David’s photos and storytelling as much as I have, and learn something new from a veteran documentarian.

-Will Hopkins

Will Hopkins (WH): Could you please introduce yourself?

David Gilbert Wright (DGW): I am David Gilbert Wright. I am English and I have been a documentary photographer for over 40 years. I first became interested in photography while I was doing a Foundation Course at Art College. Initially, I wanted to go on and study painting but found that photography was a quicker way of realising my ideas and also a more effective medium in achieving them. So, I went on to study Photography at the prestigious London College of Printing.

WH: What was it like studying Photography at the London College of Printing in the 1970s?

DGW: It was a turbulent time in both the Art world and also in Britain itself. Punk was just beginning and it was really something that had been happening in the Art colleges of England before it hit the mainstream. I was caught up and carried along with it and it was very exciting. We were all searching for ways to be different and break the rules. I realised that, in order to break the rules you had to know them and also be technically very proficient.

I learned about shooting and processing film, which stood me in good stead for the whole of my career. I shoot only film and process and print everything in order to retain control over the final result. Although I post my work on social media platforms and on my website, it is meant to be viewed as prints. Only then do you get the full experience of the the grain texture and size of the result. I don’t consider [myself] a Luddite, more a person deeply involved in achieving the best possible result through my craft.

WH: What equipment do you use?

DGW: Over the years, I have used different cameras depending on the work I was doing. For documentary work, I have generally used 35mm cameras. I used a Pentax KX for many years. Recently, I bought an old, second-hand 1970s Nikon F2. It is a beautiful camera yielding amazing results. During my landscape period I used a Pentax 6x7, and I use that for more formal documentary portraiture as well. I have a darkroom in my home, and like to work alone at my own speed. I have a De-Vere 504 diffuser enlarger. My film preference is Kodak T-Max 400 and Ilford FP4, both processed using standard stock developer and times.

WH: Explain your way of working in the darkroom?

DGW: Making prints is a long, involved process for me because a negative rarely captures everything with the correct tonal values. It stands to reason, the tonal range possible on film is only a hundredth of what it may be in the scene being viewed. So I have to make judgements at the printing stage about what aspects of the image will need work. It is much easier now on a computer but the actual act of manipulating your hands to mask or burn areas of an image and knowing the times involved are what makes the process so enjoyable but also stressful, I might add.

WH: When did you go to Wales to photograph the miners?

DGW: I went to photograph the Welsh miners in 1977. I spent about a week travelling around different mines and villages. I did not shoot much film, preferring to try to see what was happening in front of me and carefully, almost forensically, probe until the right moment arose. At that time, I was not really aware of the need to develop a relationship with the subjects in the way that the great John Collier (Visual Anthropologist) did. Now, I am much more aware of the benefits of inspiring confidence in the people you want to photograph so that they feel at ease and almost forget you are there. It does not reduce the subjectivity of documentary photographs but does allow life to unfold in front of you more readily.

The 1970s had seen a number of strikes by the miners and with the advent of a Conservative Government and Margaret Thatcher, their future looked precarious. Obviously, I was not to know that the miners strike of 1984-5 would become one of the bitterest disputes with the Government, whose aim was to break the power of the unions. However, I could sense something in their faces and that was what I tried to record in my photographs. Looking back on that series, I can see the importance of the photographs as not only historical documents but also as the generation that eventually had to face pit closures, redundancies, mass unemployment and mental health problems. The series only contains around 11 pictures but I believe it contains some of my finest documentary photographs. The other puzzling thing about the series is that it remained unprinted for over 40 years, along with the Brick Lane photographs

WH: When did you take the Brick Lane series?

DGW: It was 1978 and racial tension was rising in Britain. Groups such as the National Front were beginning to express nationalist views, and people were becoming uncomfortable with their message. However, high unemployment, strikes and the formation of ghettoes in the major cities like London, Bradford, Manchester and Leeds provided breeding grounds for racism. I was not aware at the time how important my photographs would become as historical records of the way local people were being subjected to hatred campaigns as they attempted to go about their work. Looking back, I can see now how I captured the signs of stress, poverty and courage of the people living in what was the semi-industrial area of the East-End. I spent a couple of weeks photographing in the area. Later, in 1980, I had to commute on a motorbike through a part of South London. The hatred had spread to that area and this time it manifested as violence and destruction with shops and cars being set on fire at night, windows smashed and gangs at each others’ throats. A scary time for many. If only, we had all seen the signs and acted more quickly in the late 1970s.

PC: David Gilbert Wright (Disappearing Ireland)

WH: You went on to do a series of photographs in Ireland. What was that about?

DGW: The family had their roots in a small hamlet called Knockgarra, Co.Galway. They were a rural people like many in the area. I began the project in the 1980s with the idea of documenting the farming communities of Western Ireland to show my children something about their heritage. Quickly, it became clear that things were changing and ways of life were disappearing. So I continued the project for many years. It spanned two decades and is made up of around 45 photographs that explore the themes of family, religion, childhood, farming, commerce, culture and age. I started to work on building relationships with the people who I was photographing by getting their stories. Usually this happened prior to them agreeing to let me take their picture and through the conversations we had as I photographed them. The series is organised into a narrative story and became my response to how external finance and influence had impacted on a way of life.

WH: Do you work as a photographer now?

DGW: My career has involved me working in a number of photographic roles including a film processor, a studio assistant, a wedding photographer, a medical photographer and free-lance. I also spent many years as a Photography Lecturer. I no longer do commissions or lecturing, working solely on my own projects.

My experience as an Art School student and then as a photography lecturer was to learn and teach photography was best done through projects. Even training to be a photojournalist, as assignments are projects of a kind. Finding a subject and then spending time exploring it photographically and getting to know the people and their stories yields much more interesting results than simply taking pictures of anything and everything. People just setting out as photographers might consider this as it is how many of the great photographers of the past have worked.

PC: David Gilbert Wright (Modern Tribes of England)

WH: With that in mind, what photographers have influenced you most?

DGW: Jaques Henri L’Artigue for his ability to capture everyday life. Cartier Bresson for his "decisive moment" approach, Bill Brandt for the beauty of his prints, Don McCullin for his representation of the Industrial North and Homer Sykes for his ability to find the quirkiness in our English folk festivals.

WH: What are you working on now?

DGW: I am engaged in two projects - Modern Tribes of England and Survivors. The Modern Tribes project is a large undertaking and will probably take many years to complete. It is based on the idea that people naturally join groups and membership of them can improve their sense of wellbeing. There has been a lot of research around this especially in New Zealand. Having a social network to support you and fall back on during difficult times leads to a greater feeling of well-being. It stands to reason. Human beings are social animals and form communities. The groups I have been documenting over the past two years include Morris, Re-Enactors, Pagans, Railway Enthusiasts, Urban Agriculturalists and Climate-Change Activists. Prior to the Pandemic, I was about to begin photographing Goths. My approach is an anthropological one involving getting to know the group members and gaining their trust so they almost forget I am there photographing them. An interesting thing about doing this is that many of the groups have got so used to me being around that they have asked whether I am actually going to join and become a Morris dancer or a Climate-Change Activist. However, my job is to document the groups not to join them.

The other project - Survivors is about people who have experienced serious trauma in their lives and have got through it and grown in wisdom and resilience. It is about the triumph of the human spirit over adversity. The idea has its origins in my own experience. I am a survivor of a stroke and a heart operation. Photography has become my saving grace and enabled me to grow stronger. So, I set out to find people with interesting stories that they wanted to share. I record and transcribe their stories word-for-word. We then work collaboratively to design a portrait. My expectation is that once I have about twenty stories and portraits I will exhibit the work and publish them in a book. The project includes stories such as a medic who served in the Vietnam war, a man pulled under a train and had an outer body experience, a woman whose Aunt, Mum, Dad and husband all died within two years and a young refugee from the war in Yugoslavia. This project has brought me into contact with some incredible individuals. Ordinary people with extraordinary lives.

WH: Do you currently teach?

DGW: No, I don’t teach at the moment as I am working on my own work that consumes all my time.

WH: Have you tried Morris dancing?

DGW: No, I have never tried Morris dancing but been tempted. Maybe one day.

WH: Where do you hope photography as a field will go in the future? Professional photography today looks very different from even just a decade ago. How do you think it might change going forward?

DGW: Professional photography now and in the future seems to have very little room for 'thinking photographers'. News is dominated by moving pictures. Journalists seem to take their own photos. The only places that appear open are social photography, e.g. weddings, school portraits, fashion and advertising. In effect, the commercial aspects that pay for high quality results.

Going forward, photography of my kind will become commodities into high value prints that collectors buy. Alternatively, it will be a space occupied by serious photographers who are not in it for the money. They want to tell stories and express themselves artistically.

WH: From J. Han: If you practice black and white film photography and use a darkroom to print photos, which photographer's (alive or dead) darkroom would you like to have access to and be able to watch work in their workspace?

DGW: The photographer I would most like to meet and work with in his darkroom would undoubtably be Ansel Adams. He is the master of analogue photography. His approach to printing is inspiring. He likened the printing of a negative to conducting an orchestra. The negative is like the musical score. The musical score can be performed in many different ways depending on how the conductor interprets it. Likewise, a negative can be printed in many ways depending on what the printer wishes to accentuate. So for me, the printing stage can be a highly creative experience and to be in Ansel Adams’ darkroom using his equipment and even being guided by him would be exhilarating.

WH: What question do you have for the next photographer? You can answer it yourself if you’d like.

DGW: If you could travel back in time, which photographer from history would you most like to interview for this magazine, and why?

ED: To find more of David's work, you can visit his website Davidwright.photography or on instagram at @davidgilbertwright

Hi, if you’ve read this far, thank you. Normally this is where we’d stump for money but, in light of the ongoing protests, we’d like to encourage you to donate to a cause supporting them instead. This whole block is a link to a link tree of resources.

Thanks,

The Management.

Los Ojos De Muerte: Erwin Recinos

May 31, 2020 in interview

Los Ojos De Muerte: Erwin Recinos

Andrew D. McClees (ADM): For those not familiar with you or your work, could you introduce yourself and give a quick overview of your work?

Erwin Recinos (ER): My name is Erwin Recinos and I’m a photographer from the city of Los Angeles. For the last ten years my film photography work has revolved around my perspective of the city I live in. I also work with the website LATACO.com and that has also played a big role in my photography work. The film work I produce is a photo album of my life as a son, a father and photographer.

ADM: You've (as of starting this interview) just released "Exposed" which is a compilation of photos shot on Medium format film. What was the impetus to put together and release the zine?

ER: Actually this zine was produced back in 2018. With the Rona & quarantine it’s given me some time to promote my work. The thinking behind making this zine was opportunity to produce a zine for free. I was approached by some folks at Pow!Wow! Mural festival & PaperCutLounge to be apart of a zine release party for the week long event. I was given specs for printed zine and I produced my layouts. Looking at my catalog of photos I had there were produced that year with a Mamiya C330. I show you snippets of life that I capture in and around this vast metropolitan.

ADM: Oh, rad, I've noticed you have a really impressive, and high output of zines - or at least I swear in the last week or two you've promoted a couple other ones in addition to these two. You mention a bit later that you have different goals for different zines, but is there a connecting thread?

ER: The variety of work is the goal. To not have the work feel boxed in or stagnant with a genre or style. The work has to progress and move and grow as I will. My interest and goals are very different from when I started 20 years ago to 3 years ago.

ADM: You're also about to put out a collaborative zine with SER@LA? What's the zine about, and how did you decide to collaborate?

ER: Seratla and I have been collaborating for a number of years now. It was just a matter of time to put it in print form. The photos from this zine are dated back from his beginnings in 2012-2013. Seratla was paste & sticker campaign with a great logo and theme. I was privi to document his mural painting process. All photos were captured with a digital camera. Color was the only option for displaying and capturing his work. That was key through out the process. I would also create videos for some of the mural I documented.

ADM: Oh that's really interesting - did you learn anything new while making a zine for that campaign - also did you find the video-making process influenced the photos you took?

ER: That zine was a learning tool for a lot of projects that proceeded after it. It made me focus and work thru the process and not just rush thru another project. Learning more with printing and shooting and editing video. This in no way narrow my scope but enhance my awareness of slowing down the process and seeing everything thru the end.

ADM: From the base description both zines seem very different - Exposed being all black and white, where the collaborative zine is all color - that's a fairly big stretch in working styles - did you plan to put out two separate zines from the outset?

ER: Of course. Zines have a life of their own. They can be themed zines with volumes of printed editions. Zines can also be short lived bangers with the right paper and content. The work for both zines i made had time to breath from when they were first captured. As a creative you know when the work you are curating is ready to be presented.

Here is an example of my last two zines I produced last year. Both were the same in color but totally different content. One was about graffiti and the other about wrestling. The decision of the color and execution were already decided. Riso printed was the way to go. I talked with Cynthia Navarro of Tiny Splendor in Echo Park, Ca. She gave tips and helped make suggestions on the final printed zines.

ADM: Riso is really awesome stuff - and the previews of that wrestling zine look really great on your website - how did you get into that project - and more generally how do you find your journalism work with LATACO and otherwise contributes to your photography or informs it?

ER: The zine is titled One year of Bar Wrestling and it was my perspective of this niche wrestling scene that popped up in Baldwin Park, California just 16 miles east of downtown LA. A friend of mine, Dennis bought me a ticket to check it out. That started late 2017 and is still going. Attended a show just before the quarantine in March. As everything is theses days it hit social media and nuked the fridge with a spot on Macaulay Culkin when he appeared on Ellen. Great move for them. I'm just glad I was there when I could see it happen or at least take fruit.

All photos were taken with various point n' shoots. Hard to hold an SLR or DSLR with a beer in hand and craziness going around. It made the experiencing of capturing it more fun with a up close and personal feel in the photos.

In 2010 I started with LATACO as an event photographer and documenting my perspective of Los Angeles. From art shows, graffiti, pop-up events and various music concerts. The scene in front of my camera always transitioned that it helped me grow as a photographer. In the last two years LATACO has taken on a role of trusted local grass roots news organization. The eye of documentarian is now the next evolution and it is shifting my work. Another style that is evolving and it’s great to see.

*Here is my author’s page on the website if you'd like to see the work I've done in the last 10 years.

https://www.lataco.com/author/erwin/

ADM: You're a dyed in the wool Angeleno - what do you look for when you're out in the city shooting, if you wouldn't mind extrapolating?

ER: If on assignment for the TACO I have time, place and photo goals that need to be executed. Also, my interest of local sports, art and events with family will take me anywhere in the city. A camera is always with me so my everyday life living in this city is what I believe I'm really capturing.

ADM: In terms of getting out into a city or a culture - like you do with Los Angeles, or working with LA TACO, or getting into Bar Wrestling - what advice would you give to someone looking to capture that or something like that - both as a personal project and a professional one?

ER: Access, work ethic and luck are really the foundations I use when working on personal & professional projects. Knowing the right people and networking to me is still a thing which gives me access to create personal projects or events to get that professional gig. I believe I've put in the work and met enough of the right people to keep growing as a photographer and a person.

ADM: From Adrian Otero Vila: If you could go back in time and stand next to a photographer when they were making an image, which one would it be?

ER: There are three photographers I'd like to do this with: Mike Miller and his famed photo of Tupac Shakur. Jonathan Mannion and his photo of Notorious BIG when he released his first album. Estevan Oriol and his photo of Dennis Hopper.

ADM: What's one question you have for the next photographer? You can answer it yourself if you'd like.

ER: What is the most important aspect of photography that you have applied to your daily life?

ADM: Where can we find your work and purchase your zines? Any other parting words?

ER: My printed zine work is available via losojos.bigcartel.com. Support people who support you. Your local zine community will thank you.

Hi, If you’ve read this far, thanks for reading the interview. This is usually the part where we stump for donations to keep the website up. This week - in light of the riots, we’d like to encourage you to donate to a cause related to helping out. This whole text block is a link to a better link tree.

Thanks,

The Management.